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GROUND-BREAKING, CLASSIC BOOGIE & DISCO LP FROM 1979 NIGERIA, FEATURING 'AGBOJU LOGUN'
First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.
The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is 'African Dances', a timeless fusion of afrobeat, electronics, boogie and disco.
Includes his most well-known song, 'Agboju Logun' that Williams knew was ground breaking - I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,'. This album version is a different mix to the two-track 12' that came out under on Earthworks, Rough Trade in 1984.
Official Mr Bongo reissue. Replica original artwork. Licensed direct from Shina Williams.

CHIWAX welcomes Andre Red Hand to the Family!

Dubbed by Igloo Magazine as the 'Romanian Detroit electro/techno pioneer' and by the late Aaron Carl as 'the Romanian Underground Resistance himself', Andrew Red Hand from Romania's spiritual capital of lasi stands up as an unwavering militant of the underground, a true Detroit spirit possessed as Romanian humanoid!

From his early gigs throwing parties as one of the first generation DJs in lasi since 1997, ARH continues to break boundaries as part of the Romanian resistance scene and numerous time portals as they open around Europe. His blistering, mind-bending sets such as at Berlin's Tresor and Griessmuehle see the DJ with the red hand fuse pure Detroit electro and techno with the sounds of techno-bass, raw Chicago acid house, classics and futuristic beats. His mixes for Radio UR (Underground Resistance) and The Grid (Detroit Techno Militia) remain some of the best frequency transmissions to surface to air.

Armed with a Soviet Union reel to reel Majak 203, his scorching raw analogue and searing acid productions have been picked up by foundational Detroit labels such as Twilight 76, Matrix, Detroit Underground, Databass, Detroit Techno Militia, Cratesavers Intl, Visillusion as well as around the world from Holland's iconic M>O>S Recordings to 1Ø Pills Mate (Lobster Theremin), Bass Agenda and Land Of Dance. On his remix list includes work for Scan 7, Santonio Echois, Thomas Barnett, Sean Deason, Niko Marks, Six Foe, T.Linder and more while support from Anthony Shake Shakir, DJ Bone, Dave Clarke, DJ Godfather has been garnered for our sonic warrior... Beware of the Red Hand!

Multi-instrumentalist, composer and producer Adam Gibbons (aka Lack of Afro) is back in some style with 'Back To The Day', a beautifully produced summer sizzler crammed full of infectious hooks, top musicianship and most importantly, vibe by the bucketload! Taking a nod from classic material by artists such as The Jackson 5, Earth Wind & Fire (and more recently Vulfpeck), 'Back To The Day' is Lack of Afro doing what he does best and then some - blending the old and new with big drums and heavy percussion to come up with a crossover classic that's entirely his own, whilst all the while developing his abilities as a songwriter.

Providing a dynamite vocal once again is regular collaborator Elliott Cole. Not just the voice of the track, he also plays guitars and bass, whilst ably backed up by some stellar musicians including George Cooper (Haggis Horns) on keys, Rory Simmons (Blur, Jamie Cullum) on trumpet, string and horn arrangements and Harry Harding (Yola Carter) holding down the backbeat on drums.

Keeping the dancefloor packed and turning the party vibes right up to 11, 'Take It Up A Notch' (featuring the brilliant Wax & Herbal T and taken from the critically acclaimed 'Back In Business EP') completes what is arguably one of the strongest single packages of the year!

Lack of Afro continues to go from strength to strength. 2016's 'Hello Baby' (released on his own label LOA Records) picked up a BBC 6 Music 'Album Of The Year' nomination & appeared in the Top 10 of the iTunes R&B / Soul chart in 21 countries worldwide. More recently, Adam's music continues to be used across all aspects of film & TV by networks such as ABC, Fox, NBC, Sony Pictures & the BBC whilst he also has released music on Universal & Warner Brothers Records.

Both tracks are taken from the new album 'Jack Of All Trades', released on LOA Records in May 2018 and supported by a live band UK tour in May & throughout various festivals throughout the summer.

For the last decade, Argentina has become the epicenter of a musical explosion that characteristically blends folk music from the surrounding Andes and electronic beats. The artist arguably responsible for its emergence on a global platform is one named Chancha Via Circuito- a Buenos Aires native named Pedro Canale whose first album Rodante (2008) opened the floodgates by pushing the borders of Cumbia listeners weren't even aware existed. He's gone on to release other highly acclaimed albums such as Rio Arriba (2010), which Resident Advisor described as 'aural magical realism', and Amansara (2014), which catapulted him onto acclaimed international stages and received praises from Pitchfork to the New York Times.

Four years later, in the midst of some very notable global turbulence, Chancha Via Circuito brings us his highly anticipated new album Bienaventuranza- a word that essentially means bliss. Replete with his signature touches of Andean instruments (think lots of flute and charango), the folkloric elements on this album blend fluidly with danceable and digestible electronic beats. He's been cooking this record slowly, with unprecedented amounts of care and in a much more collaborative manner than his past albums.

Appearing on the album are heavy hitters in the digital cumbia scene, including Mateo Kingman, Kaleema, and Lido Pimienta, all of whom contribute their highly distinguishable sounds to the natural flow of the album. Most of these collaborations came about almost effortlessly. La Victoria is a track that blends cumbia, dancehall, and a bit of mysticism- carried by Lido Pimienta's luminous voice, Colombian Dancehall wizard Manu Ranks happened to be in town and slipped into the song naturally. Kawa Kawa came from an improv jam during rehearsal one day with Kaleema (Heidi Lewandowski) and Federico Estevez (percussionist in Chancha Via Circuito). Niño Hermoso, which is lyrically a fable, sounds the way it does because Pedro saw a video of Gianluz (Gianluca Zonzini), who he knows from dance classes, singing a Pocahontas song on Youtube.

As dancefloor-friendly as it is mystical, Bienaventuranza is as Chancha as it gets- with elements from Cumbia to Dancehall to Andean Folk to Global house, crystal clear production, and collaborations that are evidently natural and genuine, the record holds true to the sound that Canale has played such a huge part in creating. Since the release of his last album, the digital folk scene has also grown exponentially. From a new generation of producers to more listeners in unassuming parts of the globe, Pedro has been humbled to see the sound develop- and proves with this album that he's grown swiftly alongside it.

Acid Jazz is pleased to announce that it has teamed up with the legendary Fania Records for our latest 7 inch release.

June 1st will see us release Ray Barretto's Mercy Mercy Baby lifted from his classic album Acid produced by Harvey Averne.

It is backed by an astounding and previously unreleased instrumental version,which is longer than the released version and has a stunning trumpet solo making it a summer dance-floor cooker.

Released on a specially designed label, which pays tribute to the first Gold Fania labels, this will be limited to a run of a 1000.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

Recorded in Philadelphia in 1969, The Deirdre Wilson Tabac's sole album is a beautiful blend of funk, jazz and soulful pop. Possessing the complex grooves, thrilling breaks and ethereal weirdness that The Rotary Connection pedalled so brilliantly, the LP failed to connect with audiences upon its original release.

In the decades since, it has deservedly attracted a considerable cult following. However, almost inevitably, it has become increasingly tricky to pick up a copy in good condition for anything less than eye-watering sums. As such, we're delighted to present the first officially licensed vinyl reissue of this undoubted masterpiece of freaky funk-rock, limited to just 500 copies.

The Tabac were, in fact, a trio. Discovered, managed and produced by Svengali Sonny Casella (who'd earlier managed garage band The Magic Mushrooms), they comprised Deirdre Wilson, Stu Freeman (formerly of said Mushrooms) and Barbara Payne (formerly with the James Brown Revue). They were backed by session players including jazz guitarist Chuck Anderson, bassist Hugh McDonald and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman).

Their first single coupled two fine Casella compositions, each featuring powerhouse vocal workouts, the supremely funk-fuelled blues beat of "The Other Side Of Life" and the psychedelic-flavoured "Look In My Face" - both of which are featured here. This 7" picked enough up airplay to merit an album, which duly appeared early the following year, but, as is often the way with these lost classics, it received barely any press. Correspondingly, sales where low and the trio didn't last long.

And herein lies the real tragedy. The rest of the LP deserves to be heard from start-to-finish - it's that good. A beguiling mix of funky folk and rocky jazz tracks, with some deep, string-drenched harmony soul ballads and a handful of remarkable covers elegantly presented througout. Indeed, they put some sauntered head-nod funk into The Beatles' "Get Back" whilst tearing through a version of "Sittin' On The Dock Of The Bay" which gives Otis' original a real run for its money.

But the real standout cut for most - with its soulful, haunting vocals, swinging hammond organ and stabbing horns, is the incredible 6/8 time jazz dancer "I Can't Keep From Cryin' Sometimes." Staggering.

coming out of Philadelphia heem the music monsters were produced and handle by long time philly producer and writer Hubert willis. The group had small success circa 1976 with their psych funk 45 "wake up people"/piece of the rock" they recorded a few more tracks from those sessions and what lay on the reels for all these years is probably their best yet...Its just right for now. "Keep god on your side" is modern soul disco of the highest order, over 5 mins long it leads you onto the dancefloor and never lets go! Flip it over and you have one hell of a funk disco instrumental entitled " going down (incognito)". We have maintained the Blood Leaf label with a slightly new design

Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

Ark Angel Jah Mel is a recording artist, songwriter and musician from Jamaica. Beginning his career as a performer on the stage shows of the Twelve Tribes Of Israel of which he has been a member since his youth, Jah Mel made his debut sharing the stage with artists such as Dennis Brown, Bob Marley, Freddie McGregor, Sugar Minott, Brigadier Jerry & Denroy Morgan. His writing credits include songs written for Marcia Griffiths, Cecile, DaVille, Itana & Jah Mali, for whom he also produced tracks on his debut album El Shaddai. Jah Mel has worked with all of Jamaica's top producers & musician in Jamaica such as the great Sly & Robbie, Steely & Cleevie, Earl Chinna Smith, Steve 'Lenky' Marsden & Donovan Germaine to who's Penthouse label Jahmel was signed.

Jah Mel sees himself as a musical bridge between the original reggae sound & the dancehall sound of today, representing what he calls the real dancehall revolution, merging the spirituality of the old school & the energy of the new school. 'Guiding Star' and 'Stand Up To It' are the perfect examples to overstand this definition. Both song were produced by Roydale Anderson aka Andy's. 'Guding Star' will definitely give you thrills if you are into
deep synth and heavy digital rhythm while the superb piano notes will warm you in the analog style. Beware of 'Guiding Star' dub version called 'Guidance (Dance Mix)' that will break any bunker. 'Stand Up To It' rhythm is an adaptation of one of the most classic Jamaican riddim called 'Heavenless'. You will never know this riddim like before; This version takes the riddim to another level. A positive song with a bionic nuclear bomb
dubwise! Play it loud, Jah is our guiding star!

Mad Professor is back with a new series of releases titled Electro Dubclubbing!! More classic Dub cuts from the master blaster himself. Tracks include 'Repatriation Dub' and 'Psychic Vampire'.

Recordings feature Sly Dunbar and Robbie Shakespeare with vocals by Mad Professor, Aisha and U Roy and many more.

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

Everyone loves "Why Can't We Live Together" by Timmy Thomas: how could one resist such a strong music vibe coming with a message more relevant today than ever! It has been covered by the most creative artists more than a few times...

Recorded in Paris and Kingston, the Soul Sugar crew & Leonardo Carmichael make it their own with a sultry reggae groove. Jahno on drums and syndrums, Thomas Naim on guitar, and Guillaume "Gee" Metenier on keyboards and production duties, are delivering the classic hit in all its majesty, in the superior categories of both extended Discomix, and Dub version under the spell of Dubmaster extraordinaire Dennis Bovell!

What to say about the breathtaking interpretation of Leonardo Carmichael Growing up in Jamaica, Leonardo learnt many a song from his father Glendon Joseph McFarlane, who would sing to his mother Geraldine, who sang in a choir. Leonardo grew up as a drummer and a singer in churches. Through a mutual friend, he met Nastassja Hammond, daughter of Beres Hammond, with whom he started writing and releasing music for various artists including Courtney John and Kreesha Turner. Leonardo has a wide appreciation for diverse genres but keep an International Reggae and Dancehall feel at the core of his music. It can be said Leonardo has faith & soul to the bone...

A thrilling 9-song set, Murmurations is as perfectly pitched for headphones as it is for clubs, named after giant cloud formations of starlings and themed around the stunning emergent behaviors that appear within them. To mirror these movements in the sonic landscape and visuals of Murmurations, SMD's James Ford and Jas Shaw collaborated with the celebrated Hackney-based vocal collective The Deep Throat Choir, as well as creative directors Kazim Rashid of ENDLESSLOVESHOW (Aphex Twin, Flying Lotus, Hudson Mohawk) and Carri Munden.

Finding time in between Ford's work as a producer and Jas' club gigging last year, the duo arranged a session in Shaw's countryside studio. Via an introduction from a friend of Ford's wife, The Deep Throat Choir's director Luisa Gerstein and SMD began swapping some production and melodic ideas. They decided to bring the whole East London-based choir into the studio to experiment, and the results were intense. Jas says, 'Listening to them moving their voices around a tone, altering the timbre, making chords, was like working with an incredible new synthesiser.' Rashid and Munden explore related ideas centered on kinetic energy and communal movement throughout the visuals of Murmurations. Rashid says of the collaboration, 'We were both having discussions around the purity of collective human experience and how transcendental this can be. Techno and the dance-floor is one of the last true expressions of this euphoria.'

From the beat-less introduction 'Boids' onwards you can hear uncanny patterns and sounds rising up from the sea of voices -- not traditional chords or harmonies, but complex interference patterns that play tricks on the mind and merge perfectly with SMD's distinctive synth tonalities and instinctive dancefloor nous. At times you might hear hints of Bulgarian choral music, or Cocteau Twins, or avant-garde composers like Iannis Xenakis or Pauline Oliveiros - but really, thanks to the creative freedom of SMD's working methods, it is a sound completely of its own, something all too rare in an age of retro and reference.

Ford and Shaw still have the same love of pure sound, human harmonies and electronic possibilities that they did when they first met at university, and it's clear that their career path has allowed them to nurture this love and express it as vividly as ever before.

Scottish producer & DJ Graeme Clark AKA The Revenge releases his second album 'When The Thrill Comes' on his own Roar Groove imprint on 11th May 2018.

'When The Thrill Comes' is a demonstration of a producer achieving a point of maturity in their work, able to exercise a sense of restraint, to allow for their sound to have space. It is also the opportunity for The Revenge to explore his own electronic music roots with a deeper pared-back sound more in touch with his earliest production experiences in house and techno.

Clark is no novice to the art of production and the sweaty alchemy of animating bodies on dance floors. He has been producing and playing electronic music since 1995, in many forms, though is well known for 'some of finest modern disco dubs and re-edits on the block' (DJ Mag). This passion for dusty disco and deep cuts is reflected in his long-standing collaboration with Craig Smith as 6th Borough Project which has yielded 3 albums and provided the foundation for the influential but now defunct Instruments Of Rapture label.

2015 was a momentous year for Clark with the release of his debut album 'Love That Will Not Die' on his own Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag, was shortlisted for Scottish Album Of The Year and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman amongst others. Recent production work has both cemented and extended his reputation; with his future-facing remix for Auntie Flo being re-touched by Dixon for the Philomena label and his two EP's for Berlin's Dirt Crew Recordings reinforcing his love for solid club jams

First Word Records is very proud to present the triumphant return of the UK's finest Hip Hop Soul duo, Children of Zeus, with a double-header of brand new material.

Since the release of 'The Story So Far' EP in 2017, Konny Kon and Tyler Daley have proceeded to draw in the attention of tastemakers across the world, receiving big ups from Hip Hop, Soul and dance music royalty, such as US legends Jazzy Jeff & DJ Spinna, and UK heavyweights Stormzy & Rag'n'Bone Man.

In addition to relentlessly rocking stages and studios all over Europe, Children of Zeus have somehow found the time to write and produce their debut album proper. This is the first taste..

'Slow Down' is a sure-shot Summer anthem, with a twist. A deceptively soulful slow jam that lulls you into a false sense of filtered smoothness, before a floor-shaking beat & trill hats drop in from above, as if thrown in via a thunderbolt from Zeus himself. On the flip, we have the uptempo boom-bap steppa, 'All Night'. Konny sets this one off on some straight b-boy isht, riding a rhythm that's guaranteed to make grown Hip Hoppers reminisce, before Tyler's sweet swing-tinged vocals glide into play to keep you firmly steppin' - this one again illustrating the Mancunian duo's craft of creating timeless Hip Hop Soul music.

Manchester has been riding a wave of immense creativity & musical prowess in recent years. Children of Zeus exemplify the heart and soul of Manny's now-movement - but don't get it twisted - the vibe is universal, and they definitely ain't new to this. Two decades on from the inception of Broke'N'£nglish and Hoodman, Tyler and Konny have consistently persistently held their corner, stayed true to the music they love and nurtured their own unique sound. It's almost time to drop that album... But for now, here's more future classics.

Over the course of four unforgettable EPs released on Throne of Blood since 2013, Hardway Brother Sean Johnston has cultivated a broad international following for his singular brand of dancefloor fodder.

Best known as one half of legendary DJ team A Love From Outer Space alongside the one-and-only Andrew Weatherall, Johnston's roots in the dance music scene include a clutch of leftfield 90's era bangers on labels like Sabres of Paradise and Flashcomm. Beyond his original output, Johnston has also remixed the likes of Man Power, The Asphodells, Museum Of Love, Split Secs, Clandestino and many more.

The Laser EP is peaktime Hardway Bros business. 'Friedman Feedback Loop Revision' (a nod to TOB boss James Friedman's highly-valued opinions) is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. 'The Laser' rounds out the a- side with a classic electro rhythm/bass/vocal sample combo could easily have landed in retro territory. Instead, Hardway Bros easily flips a clutch of oldschool tricks into an utterly modern execution. The b-side finds TOB's label manager Max Pask injecting 'Friedman Feedback Loop Revision' with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records' Brennan Green, the song is transformed into an epic set- closer that's already devasting dancefloors like Berlin's Panorama Bar. The EP closes with 'Afro Sirene,' a midtempo groover with melodic arpeggios built for the discerning DJ's warm-up set.

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'