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Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4 : an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world
at large.

With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper’s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto
almost every track fitting Topper’s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other ‘new’ instrument on the tapes: mellotron flutes.

Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

Hailing from Playa Del Carmen, Mexico our dude Hotmood keeps it funky with his 'Baby Come Down EP'! Hot off his multi pressing sellout release on Blur Records Hotmood gets straight to the funk with the title track 'Baby Come Down'. All heat for your feet for this jam! House music legend DJ Sneak comes correct with his bangin floor stomper B.B.B. (Big Boss Bizness) Remix of 'Baby Come Down'. Peak time biz right here, bang it out! Back to the Hotmood sure fire floor filler 'Disco Lady' with baseline for days, and a catchy spoken word over steamy funk filled disco heat. Natural Rhythm kicks in the cruise control as we hit high velocity with a deep and funky slice & dice of 'Disco Lady'. Heavy drum work and tight percussion is the call with this cleverly woven gem that’ll fill the floor and get em moving! Next up we have the House music icon Nail of Robsoul, Classic and Diy fame with his 'Fleng EP'.

Label boss Ste Roberts makes his debut on his imprint Private Parts, and he has invited his favorite Dutch duo the Young Adults along for the ride. X-Change Of Parts Vol 1 brings one original track from each artist, and then remixed by each other. Kicking off the EP with the quirky and twisted minimal throbber of Brain Freeze. Fun and ideal to wig out any dancefloor in those early hours. Young Adults with a perfect remix, maintaining all the fun for a heads down shuffle. A cheeky toast-apella to round of the A. On The flip, you have Young Adults ramping up the tempo, and delivering some incredibly funky tech. This sounds like it could be 20 years old, timeless stuff. Rounding off the EP Ste Roberts twists things up with a pulsating bass heavy Electro remix.

In Mr Bongo’s opinion, 'Imprevisto' is one of the most unmistakable Brazilian jazz records ever made. Dramatic intro and hypnotic piano line, decorated with panned percussion before the hats come in. Then the upright bass. A true classic.

Bossa Três formed in 1961 in Rio. They spent most of their early years touring jazz clubs in the USA, before the original line up and their pianist (and perhaps most well-known band member) Luis Carlos Vinhas, returned to Brazil. This is the final track on their Em Forma! LP from 1965, released on Forma. The original pressing of this Brazil 45 was the first time ‘Imprevisto’ had been released on a 7”.

We know very little about Ana Rosely. She released four 7” 2-track records between 1975 and 1984, the latter featuring the brilliant ‘Skim Dum Dum Dum’. The original version was released by RGE Discos in 1984, which came as a surprise to us given the sound. It is very difficult to find an original copy in good condition and they are, as ever, increasing in price.

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

We are proud to welcome Myungho Choi to the family of Sakskøbing for our twenty-third release. Residing in the big apple New York and baptised in the early 90’s of the warehouses of the Midwest we can safely say the man has seen and experienced the music first hand. Boss of Transit records with the first official vinyl release dating to 1999, Myungho has acquired a ton of knowledge through the years of digging and listening to the music on any medium it came on. Having an opportunity to witness his heroes and get inspired by them sufficiently to create his own story within the sound frequencies.

The EP is a boat of smooth sailing but with the turbo jets attached to it, to get to any needed destination as comfortable as possible. Heavy influenced by the sounds of Detroit and Chicago, having grew up with an abundance of the music that comes from there resulted in JET, the formation of the artist’s skill and knowledge which has been executed on the canvas that is a beautiful to look at and pleasure to listen - the 12” vinyl record we are beholding today.

Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flügel and Nathan Fake.

Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more.

The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss.

First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track.

Roman Flügel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

Arp Frique returns with a brand new release on his imprint Colorful World Records in collaboration with Rush Hour. A compilation of 12 Cape Verdean gems assembled with the help and knowledge of Americo Brito, there is a very special story behind it. Americo Brito, who features on Arp Frique’s original Nos Magia, is a proud and important member of the Cape Verdean community in Rotterdam. His story reveals the historical connections between radio, vinyl, Cabo Verde and Rotterdam’s international music scene in the 70s and 80s. Cape Verdean insiders say “we export all they have to other countries, only to import it back again”. Cape Verdeans have migrated all over the world, mainly to cities with big harbours, like New York, Boston and Rotterdam (Holland). Rotterdam became one of the main destinations (next to Portugal) on the European mainland. When Americo, like many of his friends and relatives moved to Rotterdam, he quickly became infected with the music virus. Surrounded on a daily basis by Cape Verdean music in Portuguese pensions and small hotels, this was where sailors ingested a dose of “sodade” through the interpretations of their beloved music by the local Cape Verdean artists. Americo took to the stage with his band Djarama in the 70s and 80s. The live music scene was buzzing and the Cape Verdean community had their own infrastructure for arranging shows, often in nightclubs where the band had to bring their own soundsystem. Interestingly, Americo didn’t stick to performing and recording music. He found another way to help spread the Cape Verdean magical secret of music across Rotterdam, Holland and beyond: “There was this spot in Rotterdam where all foreign radio stations were housed, all these different nationalities together, Surinam, Cape Verdean, Hindustani…Guy Ramos and some of my other friends made radio in the 80s there. I got involved in their radio activities. Later on I started to work as a technician and eventually as producer and radio DJ for “Radio Voz De Cabo Verde”. Radio became bigger and there were around 4 different Cape Verdean stations active at one point in Rotterdam. instrumental in the development of this was the attic of a Dutch friend, where “Radio Babalu” came to life. Radio has always held a special place in my heart.” Americo’s music collection stems from this era, also aided by his many travels across Europe to cities with Cape Verdean communities. Alongside Rotterdam local, Arp Frique, Americo unveils some of these songs: dancefloor hits and beloved radio gems known in the Cape Verdean scene by younger and older generations alike, and so far undiscovered by a “bigger” audience. The compilation showcases the worldly view of Cape Verdean music, incorporating knowledge from their travels in their compositions. It ranges from the obvious funana and coladeira, to the more unexpected influences of deep disco, new wave, uptempo reggae, jazz-funk and Brazilian pop music; demonstrating just the tip of the iceberg, but what an amazing t(r)ip it is!

As a true Brazilian music aficionado, Skinshape was naturally captivated by Pedro Mizutani's charm. So, when Pedro visited Europe in the summer of 2023, Skinshape invited him to its London studio. Together, magic effortlessly unfolded.

Pedro sets the rhythm, while Skinshape sets the grain. With Skinshape weaving in basslines and other arrangements around Mizutani's mesmerizing guitar playing, the collaboration was a breeze. The two musicians understood each other in the blink of an eye.

Together, they crafted a true homage to bossa nova. Without overshadowing Mizutani's style, Skinshape brought out his full musicality. It was a seamless symbiosis. The duo created a one-of-a-kind work. In the spirit of the Afrobeats movement, one could even describe it as "bossa-pop," maintaining the essence of the genre while incorporating British aesthetic elements under Skinshape's discerning ear. A sprinkling of shimmering bells here, kicks dipped in reverb there, and jazzy basslines for that extra touch of groove. As for Pedro Mizutani, he excelled in delicacy as always and did not lose altitude, soaring to even greater heights.

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

Adam Beyer continues his elite studio form with ‘Ghost Kiss’.

The boss has been enjoying the most prolific production period of his career in recent times, while reinforcing his sonic range in the process. Recent highlights have included his standout ‘Let’s Begin’ EP which mined classic Drumcode influences, while his remix of Sharam’s PATT (Party All The Time) with Green Velvet and Layton Giordani showed a different side to his repertoire, and delivered his first overall Beatport no.1 along the way.

His latest three-track offering ‘Ghost Kiss’, continues the creative purple patch. The title track sounds like a techno outtake from ‘Requiem for a Dream’s’ soundtrack, deliciously unsettling and striking. This was made for big moments, propelled by a commanding vox that urges us to move our bodies. ‘Pilot’ shows Beyer’s musical breadth and commanding sound design, taking in elements of synth wave and indie pop all within a driving techno context. A captivating listen. The finale ‘Jack’, continues the inspired sonic referencing; a narrative-led dancefloor jaunt that takes in subtle elements house and electro, with Beyer’s unique twist.

A mastermind in showcasing various shades of house music in their inimitable manner, Danish-born, Amsterdam-based DJ/producer Samuel Andre Madsen, aka S.A.M., stands as a rare talent within the current house landscape. Whether crafting trippy, cosmic and psychedelic late-night excursions, delicate, hazy journeys, or groove-driven, heady cuts, their studio naus and innate musical talent has seen them release via a list of leading labels while heading up their own Delaphine, Dahlia and Oscillat imprints - not to mention their longstanding role as one-third of globally renowned trio Mandar. Returning to Up The Stuss following their stand-out collaborative ‘Get Together’ project with label boss Chris Stussy three years ago, 2024 welcomes a blissful late summer outing with the excellently crafted ‘Check It Out’ EP. From the deep, captivating and hypnotic sonics of the title track to the skippy Tiger Balm’, the bumping grooves of ‘Race To Lose’ and the classy tones of ‘Forever Rhodes’, prepare to be transported across the house realm with yet another faultless EP from one of the best around.

Rosebay Music presents Darker Flowers - a V/A project showcasing 4 hotly-tipped new school producers - all representing a haunting soul sound with elegance and class. Romanian wiz kid Azotix has been making moves recently with his ultra-clean future bangers. But here he shows another side of his sound with the beautiful 'Hurt'. Styke & label boss Submorphics linked up in The Hague for a unique collab in 'Lonely Dub' - channeling dub techno + moody film noir D&B. LO! represents Chicago with the timeless banger 'Transition' - bringing an early 2000s sound into 2024. And imo-Lu finishes the EP with the gorgeous- yet-deadly bassbin rattler 'Inhibition'. Epic soundsystem music straight out of Glasgow.

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

DJ Yoda teams up with the mighty Nubya Garcia and Boston Hip-Hop legend Ed O.G. for ‘Roxbury’. Originally released on Yoda’s ‘Home Cooking’ it’s been lovingly remixed but the originators of cut and paste Double Dee & Steinski. The b-side is Yoda’s collaboration with Joel Culpepper ‘London Fields’. This too has been remixed and this time it’s by Lewis Recordings labelmates The Still Brothers

Fledgling label Shadow Pressings already made a mark with their debut release in March entitled the Chicago EP, garnering love from Hunee, Terry Farley and Luke Solomon to name a few.

Striking while the iron is hot, the label are serving up four more heavyweight club tracks which include acidic edits, crunchy deep house, 808 electro grooves and dusty breakbeats.

Lead track Find A Friend jacks up the perennial classic with 808 rims and toms and additional synths but keeps things loopy and rolling.

Holding One Shoe continues with the 808 theme whilst injecting a healthy dose of acid resulting in what sounds like a long lost Yazoo B side filtered through a lysergic lens.

Train Of Fools decontextualises a well known acapella making for a deep and techy basement jam which will keep the floor moving and the speaker pumping.

Closing out the EP we have More Music In The Night, which chops up some familiar samples and layers up an 808 electro groove and breakbeats for a fresh take on early 90’s house.

2024 repress.

Dive into the spiritual depths of Carnatic Music (Southern Indian classical music) - An enchanting journey of devotion and transcendence pulsates with raw sincerity and profound spirituality, casting a spell that transcends boundaries of belief.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

2024 new vinyl repress with different track list on the side B. Reverse Cut Vinyl - This record plays from the inner groove to the outer groove. Comes with a hype sticker.

Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.

Within the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Keshvaya Namaha is an invocation to Lord Vishnu, the protector of creation and one of the other major deities of the Hindu tradition, while Raghavam recites the names and attributes of two of his most popular avatars: the heroic Rama and the playful, loving Krishna.

One of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”

As professor of cultural and political theory in Universicty of East London, Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.

For an aesthetic of (dis)obedience. The impressions Richard Siegal and his company Ballet of Difference gathered on a trip to Japan in September 2022 now find their way into a full-length dance evening. Siegal and his team had set off for Tokyo to learn the practice of Shuudan Koudou, also known as "Japanese Precision Walking". The strictly synchronised group choreographies are astonishing in their radical stringency and have become a secret YouTube hit, not least because of their peculiar subtle humour. Siegal recognises in the extreme disciplining of the bodies an analogy to the training practice of classical ballet. In the mutual exchange of these movement cultures, questions are raised about individual and collective thinking, about personal decision-making power and social responsibility. For this extraordinary project, Richard Siegal has invited a special guest: Nazareth Panadero, long-time companion of Pina Bausch, who has long since become an icon of Wuppertal dance theatre and will be on stage with the BoD ensemble.

The production BALLET OF (DIS)OBEDIENCE is sponsored by Goethe Institut, with the kind support of Sissel GmbH.
CHOREOGRAPHY & STAGE: RICHARD SIEGAL
COSTUME: FLORA MIRANDA
LIGHT & VIDEO: MATTHIAS SINGER
MUSIC: ALVA NOTO
DRAMATURGY: TOBIAS STAAB

more info to: Shuudan koudou

'Shuudan koudou' Shuudan Koudou Is the Japanese #art of Synchronized Precision ...YouTube · Boson TV: Tech Marvels & Cool Discoveries22 Dec 2022

Kottke.org https://kottke.org › shuudan-koud...Shuudan Koudou Is the Japanese Art of Synchronized Precision Walking


On the other hand, hybrid 3 is inspired by Noh Play - Japanese performances and deals with the refusal of rules musically, hybrid three continues the two previous albums and weaves both rhythmic and beatless musical pieces into a holistic work.
The idea for me has always been that these albums are not only perceived as individual tracks, but as a whole piece, which is why I find the possibility of experiencing and listening to these albums in the right order and as a whole particularly important. For me, the pieces are not only closely related to the ballet that was created for them, but also function as individual pieces as pure, musical pieces and mark a new quality for me, which is very strongly focussed on producing electronic sounds and structures in such a way that they can develop a sculptural quality.

2024 repress on pink vinyl

Boston is not exactly worldwide known for its coldwave or synth pop artists. Most of us know the Capital of Massachusetts because of its hardcore legacy that still continues today.

And yet, just like flowers in a rugged land, here comes House Of Harm, a post-punk trio whose new approach to the genre was showcased on their two tape EPs, earning them a cult international following as well as an imposing line up of supporting gigs opening for Editors, She Past Away, Lust For Youth, and The Cure’s Reeves Gabrels. Due on September 4 is their debut full-length Vicious Pastimes out on vinyl LP and digital format.
Nine songs where timeless melodies of Kiss Me Kiss Me Kiss Me-era Cure perfectly match French coldwave moodiness, enhanced by Cocteau Twins ethereal airiness and Creation Records seminal shoegaze sounds. Just enough light reaches House Of Harm’s base layer, giving life to infectious hooks and unforgettable mantras. The gritted core of every song makes expansive moments of release cathartic, always tethered by commanding drums.

Check out the very first single they wrote Isolator and its melancholic synth pop refrain, or Against The Night whose darkwave is as claustrophobic as One Hundred Years. Catch sounds almost like a Sarah Records hit, while the title-track hurls us back into the bleak realms of the Sisterhood. Different influences but everything is just in its place simply because House Of Harm are the rare band where you can feel every individual member’s devotion to each song’s world.

RIYL: The Cure, Depeche Mode, A Flock Of Seagulls, For Against, Drab Majesty.

For this 5th delivery from Mephis, label boss Alfalfa shares with us a nostalgic and dystopian interpretation of his migratory experience in a sonic format. Imagine Kafka fidgeting with a 303 in a waiting room, with a happy ending.

This riotous, psychedelic Latin funk anthem, taken from Martín Buscaglia's 2006 classic album "El evangelio según mi jardinero", sees its very much requested first time on a 7". To celebrate this, and thinking about the AA side, we decided to ask Bosq for a remix.

When we approached him, he said "This track is wild, I love it!" and he started to make his thing. When he finished it, he told us, "I resisted the temptation to bump it up closer to 120 bpm – the world needs more midtempo dancefloor treats!". We couldn't agree more on the midtempo bit, but especially we couldn't be more chuffed with the remix. Bosq has added his magic and a tad of cumbia feel as well and the result is way more than a treat, it's an everyone-smiling-on-the-dancefloor kind of track.

DJ Support from 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

Next up on our new Toolroom Trax vinyl series, we kick things off with a fresh new banger from Italian talent Nausica who with another deep club cut 'Se Pone Loca'. Featuring rolling percussion, a hooky lead vocal with expertly placed chops, 'Se Pone Loca' is looking to lay carnage on the dancefloor. Nausica's mastered her infectious minimal, percussive sound that has seen the likes of AAA talent support her music from John Summit, to Jamie Jones, MK to Solardo proving Nausica's a name many acts are reaching for in their sets! D.Ramirez returns to Toolroom Trax with his highly anticipated remake of Bodyrox's anthemic 'Yeah Yeah'. Firmly rooted within Toolroom's foundations, releasing genre defining dance music for nearly two decades with hits such as 'Downpipe' in collaboration with label boss Mark Knight and UK pioneers Underworld, 'Colombian Soul' and many more. D.Ramirez doubles up as not only a genius in the studio, but as one of the talented Toolroom Academy tutors, teaching a new generation of producer's fundamental skills in dance music production. Remaking the Bodyrox Electro House classic 'Yeah Yeah'; an era defining masterpiece with an unforgettable synth line, D.Ramirez gives us an essential update for today's dancefloors. Label favourites, Sllash & Doppe return to Trax next with their unique style of uplifting, feel good house music. Their music is regularly found in the sets of artists like Fatboy Slim, Solomun, Bedouin, Blond:ish, Martin Solveig, Roger Sanchez and more, and the playful cousins are now conquering the world, from deck to deck, with an energetic and exuberant style that has won them favour on the dancefloors.

Closing out the sampler is Saison with their signature house sound. The London based duo have been solidly in the game for the best part of a decade perfecting their unparalleled sound of raw, feel-good house music at it's very best. With numerous releases on revered labels including Defected, Nervous, Big Love and of course their own imprint, No Fuss.

Countless 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

Airrica makes her Crosstown Rebels debut with ‘Hi Speed Lover’, featuring Nick Morgan and KinAhau remixes.

Balancing experimental musical curiosity with her playful take on house and techno, Los Angeles’ Airrica may only be two releases into her blossoming journey as a producer, but she has already showcased her growing sound and vision while aligning with her own powerful DJ sets. Following her collaborative release alongside Ashee on Diplo’s Higher Ground and building on her debut via Crosstown’s sister label Rebellion, Damian Lazarus now welcomes her to Crosstown Rebels for the first time ahead of her appearance alongside the label boss at Hï Ibiza as she unveils her ‘Hi Speed Lover’ EP - accompanied by remixes from Canadian-born DJ/producer Nick Morgan and hotly-tipped talent KinAhau, as both also make their label debuts.

Bumping and trippy, ‘Hi Speed Lover’ is a snaking, bass-heavy cut loaded with energy as warped vocals are accompanied by slinking drums, icy hats and resonant chords and strings, while Nick Morgan’s take brings a stylish, hazy glow to the track as dubby low-ends and delicate keys work amongst the mix. Second original ‘Cherries’ is another impactful production merging metallic drums with further vocal murmurs and an infectious acid-dipped bassline, while KinAhau’s remix strips things back to deliver a classy journey through rich textures with an ethereal trip to close the package.

Originally released in 2021. This record will be re-released.. on Industry Standard. Well deserved re press of an iconic original from Todd Modes. Boss man Oliver Dollar steps up to create a hypnotic remix that will definitely take you to that other place in your head. A truly masterpiece is on the way on 7th June 2024.

Label boss El Prevost makes a welcome return to No Speakers after it's been on something of a break. Thankfully the quality levels remain high here as he kicks off with 'Catastrophizing', a brilliantly bass-heavy cut with broken beats to make you sweat.

On the flip, 'Landing' has a more inward sense of reflection with its fizzing synths and deep space atmospheres making an indelible mark. Last of all, the magic of Detroit looms large with a superb remix by Motor City mainstay Kyle Hall.

His version of 'Landing' brings some jazzy melodic vibes and one of his trademark deep house and bumping grooves. This is another essential 12" from No Speakers.

Since 2019 Demdike Stare had been playing edits of Dolo Percussion’s bare-boned breaks in their DJ sets, eventually sharing them with Dolo’s Andrew Field-Pickering (Beautiful Swimmers, boss of Future Times) and fomenting a creative fusion that hits at the square root of their shared tastes for unruly, deadly rhythms. In a transatlantic back ’n forth - or what Kodwo Eshun termed a double refraction - they juggle the rudest aspects of UK hardcore, as derived from electro, breaks and garage-house - that would feed into Dolo’s pool of sound, and return to the UK via the likes of breakbeat wizard Karizma, who was a key touchstone for the whole late ‘90s broken beat movement key to Demdike’s tastes.

Still following the thread? It’s not that tricky - both US and UK operators favour breakbeat music more than anywhere else, and this devilish hook-up is the epitome of a conversation ongoing for generations now. At each parry, the three cuts here are exemplary of the way DJs, producers and dancers on both sides of the pond have pushed each other to new heights in a feedback loop designed to make the dance throw the maddest shapes.

‘DOLO DS 1’ racks up a full clip of flintiest breakbeat hardcore, pivoting gasping samples inna dervish of ruffneck syncopation, ruggedly distinguished from the pitching, gritty drum machine chicanery of ‘DS DOLO EDIT 1’, and their super crafty sidestep into the offbeats, hingeing around ghost snares and practically spectral levels of percussive suss in ’DOLO DS 2’ which basically sounds like a prime Autechre tumbling thru dub.

Reissue

Broken Techno / Electronica label Theoretical Rhythms is taking it to the next level with their first vinyl release. Label boss Nickel Eye is honoured with the production duties and come up with a beautiful album which can be described as an audio Sci-Fi poem. Rich textures and pads are present in all tracks giving the album trippiness bringing the listener on a cosmic excursion. Steady broken beats keep the things on a dancier side and the listener can have a dance while watching the stars listening to the album.
Space Child is an album that would work equally well at home on an individual journey as well as on the dance floor where each party goer can take their personal trip

Toronto-based artist and co-boss of Parallel Minds, Ciel, known for her distinctive, precise, playful, and intricately crafted electronic productions, delivers a vibrant new EP on SUZI titled "Sada’s Dream". Originally performed during a live set at MUTEK Montreal, Ciel has refined these initial ideas into a five-track journey that showcases her unique sound palette, marked by meticulous attention to rhythmic and melodic interplay.

The EP opens with "Be That As It May," setting a contemplative tone with complex rhythms and a haunting flute-like melody that gradually unfolds into a brighter, expansive atmosphere.
Following this, the second track "Viral Load" shifts towards a tougher sound, featuring digital bleeps and arpeggiators that swirl around modern dubstep elements, creating a dense auditory texture.

The third piece, "Divide and Conquer," blends airy textures with a robust, infectious bassline and glitchy, compelling melodies, demonstrating Ciel's ability to balance delicacy with power.
Moving forward, "Bubble Gum Pop," the fourth track, adopts a clubbier vibe with its vigorous house vocals and lively breakbeat drums, offering a sharp contrast to the preceding tracks.

Concluding the EP is "Sada's Dream," the title track. This fast-paced, playful composition marries minimalist rhythms with whimsical bleeps and snippets of vocals, ending the EP on a note that feels both conclusive and invitingly open-ended. "Sada's Dream" is a sonic tapestry that weaves together the subtle complexities of Ciel's signature style with a narrative that is both intimate and expansive, capturing the essence of her artistic vision.

Returning to Damian Lazarus’ renowned label for their seventh EP on the label, the Gruuv bosses showcase the latest evolution of their rich and diverse sound, with the dancefloor-driven quartet of hot cuts!

From their early beginnings between Ibiza and their hometown of Leeds to a near twenty-year-long career that has taken them from Space (Ibiza) to Womb (Tokyo), fabric (London) to Zouk (Singapore), UK duo Audiojack have remained and continue to prove themselves as both ever-present dancefloor hit makers, but artists that have helped carry the UK’s evolving house sound. From their initial releases on Leftroom and 2020vision through to their Crosstown Rebels debut in 2016, and then fast-forwarding to recent music on Solid Grooves, Knee Deep In Sound and their own Gruuv imprint, the pair’s unwavering passion for fresh sounds continues to burn bright. Now regulars on Damian Lazarus’ iconic imprint, serving up five EPs, numerous remixes, and their 2021 album ‘Surface Tension’ on the label to date, the end of May welcomes the duo’s latest chapter on Crosstown with their latest EP, ‘Play With My Mind’.

The skippy and vibrant ‘Play With My Mind’ opens the package with an abundance of nostalgia, channelling 90s sonics via the infectious organ melody and hooky vocals at its core, while ‘Casual Verve’ is trippy and loose while delivering a slice of driving funk to the mix. Next, ‘Connect’ provides a vocal-led, garage-dipped cut that keeps the energy levels sizzling before ‘Delirium’ closes the show with a swathe of pure dancefloor ecstasy.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

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

Vocal house duo Bäs Noir’s ‘My Love Is Magic’ receives edits from British DJs Bushwacka! and Mark Broom on Nu Groove. Hailing from Philly, the female duo of Morie Bivens and the late Mary Ridley first released ‘My Love Is Magic’ as Bäs Noir in 1988, with the Rhano Burrell production going on to chart in the UK. Today, the record remains a favourite of tastemakers everywhere, with Big Love label boss Seamus Haji dropping the OG at Defected Croatia in 2023. The hugely influential British DJ and producer Bushwacka! now returns to the legendary NYC label Nu Groove, following his four-track EP ‘House Sounds Vol. 1’, to bring out the percussive power of ‘My Love Is Magic’ with its distinct piano bassline and modern synth work. Also a Nu Groove returnee, the seasoned DJ Mark Broom delivers a techno A-12 Edit and house Dub Re-Touch of the Bäs Noir vocal house staple.

Commissioned and curated by Flora Yin Wong for her label and publishing house Doyenne, ‘Venus Rising From The Sea’ is a collection of love-themed cover versions featuring Teresa Winter, Susu Laroche, Alex Zhang Hungtai, aya, Maria Minerva, Christina Vantzou, Spivak, Salamanda, clare rousay, Wild Terrier Orchestra, Dania and Flora Yin Wong herself covering songs by The Cure, Robert Wyatt, Mariah Carey, The Cranberries, Pentangle, The Carter Family, Spiritualized, Debussy and more.

‘Venus Rising From The Sea’ takes its cues from the classical deity Aphrodite - whose name literally means “sea foam” - for an ever necessary expression of love in the modern age. The label asked friends and collaborators to interpret “love” in whichever way they saw fit, be it obsession, self-love, unrequited, unconditional, whatever. But despite the open brief, and the vastly different modes of execution, all the artists involved somehow ended up linking hands with a shared determination to smudge the original songs into bleary-eyed, uncanny traces of the originals.

To open, Pentangle's jaunty 'No Love is Sorrow' is puffed into stormy clouds by Teresa Winter, who retains the original’s unmistakable bass twang and teases Jacqui McShee's siren song into a saturated buzz of layered, obfuscated words. Verses twist into verses, lines into echoed-out lines, capturing the song’s boundless yearning, rather than tracing its exact contours. Next, Susu Laroche yields one of the set’s highlights on a brilliantly nuanced, highly impactful version of Nina Simone’s take on folk standard ‘Black is the Colour of My True Love’s Hair’, turning the original’s multi-faceted Appalachian/Scottish routes into a heart-stopping, Nico-esque fuzz we haven’t stopped playing for weeks. Christina Vantzou (the CV ov CV & JAB) is joined by pianist Ezra Fieremans in the absorbingly filmic scenes of ‘Hot Springs’, while Maria Spivak's interpretation of Robert Wyatt's 'Just as You Are' finds her singing Brazilian vocalist Mônica Vasconcelos' words with reverence, smearing them into a hypnagogic fantasy.

Flora Yin Wong takes an inconspicuous approach on her love-letter to Mariah Carey's 'The Roof (Back in Time)', itself a melodramatic interpolation of Mobb Deep's Herbie Hancock-sampling 'Shook Ones, Part II'. The unmistakable piano line is frayed into a granulated gurgle, fleshed out by gauzy cries; Mariah's ecstatic diva logic haunts the edges like a furtive glance, hanging beautifully behind Wong's dense soundscapes. Alex Zhang Hungtai's take on the 1927 standard 'Me and My Shadow' is even more atomised, reduced to a disembodied vocal that oozes around a clattering woodblock.

Always a standout, aya's tribute to The Cure's 'Lovesong' infuses the 1989 classic with the same self-investigatory charm she exhibited on 'im hole', slowing it down to a giddy, infatuated lurch, and replacing the guitars with eerily-tuned oscillations and drums with hollowed-out, electrically charged thuds. "I will always love you," she moans through a wall of static, like some lost “Pop Artificielle” addendum. The album’s biggest surprise is saved for last, however, a cover of The Cranberries' 'No Need To Argue' from Paralaxe Editions boss Dania Shihab. Already a poignant memory of a faded romance, Dania's version is even more glacial, her tender voice gusting over inverted guitars and looping, wordless moans, guiding us ever so gracefully into the nether-world.

‘Venus Rising From The Sea’ is a gooey, emotionally raw set of recollections and affirmations from some of the scene's most open-hearted operatives. In the end, the love that's most evident is the love each of the artists has for their source material, somehow binding loose threads into a rich tapestry that will leave you gasping, perhaps a little tearful too.

Long-time contributor to Drumcode, Christian Smith lands on Truesoul for the first time in his career.

The Tronic boss and all round techno stalwart shows us the groovier and more melodic side of his music personality with a pair of quality cuts. Co-produced by John Selway, ‘Here To Stay’ is a slick slice of robot fun, underlined by an elegant melodic underbelly, rugged electro riffs and an intergalactic vocal. Its accompaniment ‘Our Destiny’, is a searing chord led production ideal for warm-ups or silky morning sets.

Vokabularium boss, Denis Horvat, returns to the label to serve us something fresh for their second release of the year. This 4-track EP includes three originals along with a remix from Horvat himself. Two of the tracks feature the expressive vocals of the young but powerful Lilli Ellen. Ellen, who is only 14 years old, has a commanding energy that will lead you onto the dance floor. The EP's inspiration and title come from the French perfume brand, MARLOU.

Standard version on 2LP black vinyl in gatefold sleeve. ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.



'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with HONEY (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, STUFF. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like ECHT!, Stellar Legions and TUKAN. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3:
"Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."