quête:dj heat

Kolonel Djafaar’s ‘Cold Heat’ packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records.

Kolonel Djafaar’s debut release for Batov is an all-killer-no-filler EP. On "Bactrian Camel’’ the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen’s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little
Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

Comparable to, but distinct from, The Budos Band and The Comet is Coming, the low-slung sounds of "Recording 68" in particular reveal Kolonel Djafaar coming into their own. The tempo drops, emphasizing the depth of the groove. The EP is appropriately closed in cinematic style on "The Heist". The pace picks up. Drums of death, in the mode of DJ Shadow or Unkle, hold up the distorted synths and that sharpest of horn sections. A song ready for the dirtiest of chase scenes. "Cold Heat" is suitably titled. Fast or slow, killer grooves that will take no prisoners. A taste of Kolonel Djafaar’s power on stage and the clearest picture yet of their direction in sound.

The always affordable Wanted series returns this week with another set of beautifully presented, expertly selected comps covering a variety of genres. Here we have a set of overlooked and under the radar Hip Hop heaters including the lyricism and flow of De La Soul, Bubba Sparxxx and RZA & GZA from Wu Tang Clan and the production talents of Pete Rock, Jazzy Jeff and Timberland. Beats to make your head nod til your neck snaps.

For our 5th vinyl release on Bouquet. Recs, Trent is toeing the line between fresh and trippy, but undeniably dance floor heat on his first solo EP, and first release on our label.
We are proud to share his momentous solo effort. Recorded in Berlin between 2018 and 2020, 'Transition 35' takes cues from multiple eras of dance to characterise the ever changing colours of nightlife. C'mon ride the train - final destination? The limits of your sensual abandon. Stops along the way? 90's rave. Psychedelic space station.

Trent is a Berlin-based Italian DJ and producer who co-created the party series and label 'Oscillator' with fellow Italians Dama and Budino.
Alongside resident and cosmic pioneer Beppe Loda, they curated one of Berlin's remarkable events for obscure italo, disco and electro.

Taking lessons from the past Trent weaves together a highly sophisticated yet playful sound for the contemporary club goer. Having spent many years as part of collectives, his solo aesthetic is thoughtfully considered and always surprising.
A longtime fixture of the infamous playground party Cocktail d'Amore, Trent collaborates with Juan Ramos under the shared byname Greenvision, releasing together on Cocktail d'Amore, ESP Institute and Ene Tokyo.
'Transition 35' marks Trent's first solo EP sojourn and a triumphant showcase of his individual voice, on Bouquet. Recs

TRACK DESCRIPTIONS

A1. Like a fast train barreling out the station to destinations unknown, This is a Trip hurtles forward like a 90's rave classic, with new wave and nu beat inflections that keep you hooked through unexpected transitions to its explosive finale.

A2. Gasping lysergically, the sci-fi sounds of Don't Stop evoke ecstasy on the dancefloor. That internal scream as you summon more energy, eyes closed, enjoying the trip with a smile.

B. Touch Me is a spell of primal percussions and ominous warlock voices to make for a dark, hot situation

Tenor saxophonist Barney Wilen was not quite 21 years old at the time of this meeting with Milt Jackson, Percy Heath, and Kenny Clarke, three veterans of the Modern Jazz Quartet. But the young man is surprising mature and confident throughout the session, interpreting several of Django Reinhardt's compositions, along with a few by his French contemporaries and a pair of his own works. What's surprising about this session is the rare opportunity to hear Jackson exclusively as a pianist, as his playing is a bit more reserved than on vibes. The leader digs into his rhythm section's element with his original "B.B.B. (Bag's Barney Blues)", giving them a full chorus before making a convincing statement himself. The quartet's fluid arrangement of Thelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow is added for both "Swing 39" and "Minor Swing" to add an exotic touch. Barney Wilen easily holds his own on his first major meeting on a record date with major American jazz stars.

Miles Davis recruited Wilen for his European tour dates at this time (1957), a measure of Davis’s estimation of the young Barney.

Live At Robert Johnson welcomes Amsterdam-based DJ and Producer Alain van der Born aka Perdu to the Club, who already made his marks with Releases on DGTL Records, Heist, and Let’s Play House amongst others. His contribution is a Four Track EP called Soaring Flights, including a Digital only Bonus Track. On this EP, Perdu champions a full-on 1980s sound, which hits more than one Chord in Live At Robert Johnson’s very own set of Styles.

Dystopia (co-produced by Tjade) is a High Energy Track, in which a raw and stoic Bass Riff slowly working its way into a Break. It’s the first Break in which the Atmosphere heats up significantly and subsequently sustains for the remainder of this quite enjoyable, and not quite dystopian rush on the Dance Floor. Retrograde immediately kicks off with a South American infused Rhythm Loop, joined by a deep and analogue Bass Serpentine, with bubbly Acid sprinkled along the way. Rise Of F5 brings back those 1980s signature pumping Kick and gated reverb Snare Drums, employing melodic and slightly haunting elements, which eventually dissolve in Euphoria and a Melody to hum along with (or shout, if you prefer). Somehow It’s Different Now concludes in a slightly different and quite mellow vein, that lets you leave this EP on the easy side. Available Digital Only is the Bells Mix Version of Perdu and Tjade’s Dystopia, for those inclined to a more melodramatic Dystopia with added playfulness thanks to—you guessed it—Bells (no whistles, we promise) …

The latest from Mr. K and Most Excellent Unlimited pairs lowdown and stomping disco from an unlikely source with a funked-out floorfiller from some very familiar voices.

Minnie Riperton’s 1977 single “Stick Together” was an outlier in her catalog of smooth modern soul, an intentional nod in the direction of the prevailing disco sound. Co-written with Stevie Wonder, “Stick Together” in its original single release was divided into two parts, the first a fairly conventional uptempo cut with all the catchy qualities you’d expect from Stevie and the husband and wife team of Richard Rudolph and Minnie. It was the second half of the song that caught the ears of DJs who played for funkier dancefloors, however. Freddie Perren, a former member of Motown’s legendary Corporation collective of songwriters and producers, and a man then red-hot off his success with Tavares’ “Heaven Must Be Missing An Angel” and the Sylvers’ “Boogie Fever,” was on production duties, and the song clearly benefits from his disco-friendly touch. In Mr. K’s epic edit we are treated to a lengthy exploration of the second part of “Stick Together,” featuring keyboardist Sonny Burke (veteran of Marvin Gaye’s band and fresh from playing on Candi Staton’s disco smash “Young Hearts Run Free”) working out an irresistible Jingo-esque piano part, Riperton’s sensual ad-libs, and, as if that wasn’t enough, a cameo appearance by Pam Grier on finger snaps! Krivit’s 8-minute-plus edit passes way too quickly to get enough of the hypnotic groove — rewinds are called for!

Our flip side, “Body Language,” originated as an album cut on the Jackson Five’s last album of original material for Motown, Moving Violation, recorded before Jermaine left to go solo and the remaining brothers joined Epic Records in a new incarnation as the Jacksons. For such an obvious heater it’s puzzling why the label never released it as a single; but regardless of that apparent misstep, “Body Language” has long been a sure shot in many DJs’ bags. With his new edit, Mr. K presents the track in its ultimate form, loud, remastered, stretched out and rippling with energy over a full six minutes. With an iconic bass line that just doesn’t quit, and Michael and the boys in fine form, it’s impossible to imagine a situation where this wouldn’t set the room on fire.

The first two EPs of rising French-Algerian singer-producer-songwriter Sabrina Bellaouel on InFiné are now available on a single 12" vinyl edition for the first time. At the crossroads of modern electronic production, alternative RnB & North African beats, Sabrina Bellaouel offers her listeners an unprecedented mix of grand emotion of the Pop stage and the cutting-edge underground flair of buzzing nightclubs

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2020 saw Sabrina Bellaouel step out of her cocoon a fully formed artist. First, there was "We Don't Need To Be Enemies", a powerful and brave record - directing the limelight away from her talent as a singer and focusing on her honed, meticulous production skill and ingenuity in making demanding, forward thinking music. Bellaouel managed to tell stories of her identity and place in the world almost without a single vocal.

Then, there was "Libra" - fusing her own production with that gorgeous voice - showcasing a fully formed, trailblazing, independent artist. Sabrina jumps effortlessly between empowering trap on "Arab Liquor" to luscious RnB on "Float" and ends the record with "She Don't Care", a peak time house curveball that you can picture heating up the festival dance floors around Europe. The diverse and powerful EP united different sides of the press in its critical acclaim, receiving accolades from Resident Advisor, Mixmag, The Quietus, Metal Magazine and Pan African Music - just to name a few.

Both of these records then, represent a side of the coin - and are now available as a 12" Vinyl combining them to a singular listening experience. And when the clubs slowly open up again, you will surely see this secret weapon make it's way some well assorted DJ bags.

The iconic album series Back to Mine returns once again in 2019 with the first DJ imx compilation from world dominating indie-dance band Jungle, showcasing their personal tastes for the after-hours. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back to Mine’s heritage for quality this edition comes with limited edition heavyweight vinyl and extra thick cardboard sleeves with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist’s influences alongside personal sleeve notes from Jungle.

The collection includes an exclusive track from Jungle themselves and takes the listener on an eclectic musical journey. From 90s disco by Merle to more recent house tracks by Manuel Darquart and Drumtalk. Bristol DJ Admin provides the percussion heavy ‘Space Cadet’ and the irrepressible Mocky supplies good vibes on ‘How It Goes’. There’s sophisticated pop from The Marias and Sam Evian and there’s some spotlight for modern jazz with tracks by Kamaal Williams, Mansur Brown and BadBadNotGood featuring Kaytranada. There’s also room for some gospel influenced soul by The Flying Stars of Brooklyn NY, lo-fi dream pop from Paul Cherry before ending with the always impressive HNNY.

To coincide with the series release, Jungle will embark on an extensive Back to Mine global DJ tour.

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Dark Entries is pleased to announce a deluxe reissue of Sexual Harrassment’s 1983 opus I Need A Freak. Lynn Tolliver, DJ/Program Director at Cleveland’s WZAK, adopted the pseudonym David Payton in order to keep his musical endeavors separate from his public persona. Sexual Harrassment (misspelled deliberately) was formed as a concept band, with members selected based on appearance and choreographic skill rather than musical ability. Tolliver’s explicit lyrics focused on the central themes of desire and sexual relations. Working at a studio in Akron, he recorded an album of quirky-yet-lurid electro funk, which was released on Heat Records. Tolliver remarks, “I learned as a youngster, sex sells! The things that are rated the worst – violence, horror and sex – are the things people want to see or hear about.” I Need a Freak was a surprise hit, selling over 100,000 copies.

I Need A Freak is presented here for the first time on double LP, pressed at 45 rpm for maximum DJ-friendliness. While the album’s naughtier moments seem quaint by contemporary standards, the fusion of lo-fi funk and disaffected vocals still stuns today. On the eternal electro-raunch anthem “I Need a Freak”, minimalism serves to highlight the lasciviousness of the deadpan lyrics, which were inspired by Lourdes Figueroa, Tolliver’s girlfriend at the time. Tolliver’s whimsy shines on tracks like “If I Gave You a Party” and “K.I.S.S.I.N.G.”, which contrast nursery rhyme structures with decidedly R-rated lyrics. “Exercise Your Ass Off” lampoons the home exercise craze, but with a more-than-suggestive sexual bent. Also included are two bonus cuts, “We Want Prince” and “These Are The Things That I Like”, previously released as singles in 1984 and 1986, respectively. “We Want Prince” is both a homage to the Purple one and a gentle satire of obsessive fandom.

I Need A Freak has been remastered by George Horn at Fantasy Studios. The album comes in a gatefold sleeve featuring the original artwork. Included are lyrics, photos, and liner notes by Lynn Tolliver and drummer Dale Jackson. Tolliver’s sly provacateurship is best captured by the quote: “It’s funny – without sex, mankind is dead, yet we hide the very thing we need.”

Born out of a love for extended live performance and late night studio jams, Adam Collins' and Marky Star's much revered Omni A.M. collaboration released their debut LP 'Key' 23 years ago, also launching their label Euphoria Records. A very limited amount of CDs were pressed and sold exclusively at Euphoria events throughout Chicago at the time, and with Omni A.M. and Euphoria's stock rising over the following decades, this timeless classic has become a Holy Grail amongst music heads and collectors alike, as the eye watering discogs prices will attest.

Although heavily influenced by the Chicago house scene and it's luminaries Derrick Carter, Gemini, DJ Heather and Tyree Cooper, the pair embarked on a remarkable mission to record an album that owes much to their love of The Orb and KLF, the experimentalism of Psychic TV and Cabaret Voltaire, industrial favourites Skinny Puppy and the mind bending dub of Lee Scratch Perry, through to San Fran's West Coast house scene and the Tech-House sounds emanating from South London in the late '90s.

LP opener 'space horse' rolls out the breaks before swathes of synths and sonic trickery abound, 'wo ist meine bier?' is characterised by haunting IDM-esque melodies, underpinned by the chug of a 4/4 beat. Over onto the flip where Villalobos favourite 'naked groove' unleashes an infectious rhythm, bass riff, synths and vocal, before 'splendid idea' moves into a more tripped out acidic territory, keeping the musical elements and energy to the fore. On disc 2, the aptly titled 'fusion' turns up the breakbeat heat, adds a hypnotic dub-funk b-line, building into an inspirational lead line. 'v.23's other-worldly throb neatly segues into the moody burning breaks of 'bitch', and closing track 'ready to know' is playful and confident in it's execution, without ever losing any depth or substance.

What comes across is an unwavering dedication to creativity and pushing the boundaries of what's sonically possible, whilst defying the genres through a unique and essential collection of musical moments and psychedelic jams underpinned by beats that deliver the funk. These tracks have stood the test of time and have remained exciting and relevant throughout, this is the first time they have ever been released on vinyl.

This double LP features exclusive edits and never heard before versions, lovingly remastered by Lawrie Curve Pusher from the original DATs and artwork recreated from, and inspired by the original release.

Type “Was Joan of Arc” into Google and the suggested endings for this statement give you an accurate gauge of her place in pop culture: “Catholic” / “a nun” / “canonised” / “a prophet” / “French” / “a witch” and so on. Related questions to “What were Joan of Arc’s last words” on the info-sharing site Quora include “Was Joan of Arc bisexual” and “Was Joan of Arc simply crazy?” Everyone seems to agree this person was burned at the stake in 1431, but beyond that, Joan’s narrative is an enigma. It is this lack of definition that the production duo Pillow Queen harnessed for their second release, Burn Me Up. Inverting the image of the devout Christian girl, the Joan who stands as this record’s heroine was a heretic, a transvestite, most definitely a dyke and a hot femme-top at that.

Opening up the A-side, the title track is a call— a battle cry, but also a summoning. In a time of need one calls upon their patrons and elders from history; a DJ beckons and gathers dancers to the floor; prayer and sweat go hand and hand. A traditional Irish bodhrán drum beats out the first rhythms, joined by a steamy vocal sample that gets caught, chopped, and soon “Burns Me Up” is pumping along with organ chords and distorted keys. Pivoting away from the 4/4 format, “Submission” is a textured, downtempo slow-burner, with close-mic’d vocals from Vani-T and the D. Tiffany’s deft drum programming. When the choral pads come in, there’s an echo of the 1990s German worldbeat project Enigma, with its Gregorian chants and flutes laid on top of lounge beats—here, though, the chorus is stripped of kitsch, only driving the track deeper into a mood.

If Burn Me Up’s sequence of tracks is read as a kind of narrative, they seem to tell the story of Joan’s last moments. “Burn Me Up” is, frankly, heat—aggressive, the high-end crackles and the bass puts a pyre under one’s feet. “Submission” is like an exhale, a giving-in to death’s grip; there is, along with the sensuous tread, a melancholy. It only makes sense that one flips the record to “Resurrection”, which rolls in a tremolo’d wail of pitched vocals for 30 seconds before a kick drum begins the 141-BPM march. The percussion is central here, as the track shifts between polyrhythms like a range of resuscitations, varied heartbeats. “Salvation” closes the record, again dialling back the tempo to the deep nod of dub. To no surprise, the scene of redemption here is not one of sunlit cherubs—the church bell sample tolls one strike every few measures of bass-throb and shadow, while Vani-T intones, “Then he lay down and died”. Death can be salvation to some; living as many selves, living in contradiction, is a saving grace to many more.

Another limited edition PUSS release, each copy with a stamped kiss mark.

Don’t you realise that it’s getting warmer and warmer by the minute, that DJ JA’s “Warm”EP for hundert is just the beginning of something new while things continue to heat up?
Just think about hearing it on the news, that feeling of your skin crawling, shrivelling, theshrill alarm sounds ringing inside your head and you trying to keep your cool while theheat is rising. Just relax though, consider the Y2K panic – how everyone breathed a
breath of relief on the 1st of January once the clock had struck midnight and everything just stayed the same. After all, that’s maybe what we really need to be doing instead: wait for things and nature and this planet to settle this on their own terms. Wasn’t it all just a
hazy craze back then, and isn’t the same happening now? Aren’t we all susceptible for either apathy or paranoia, that bittersweet ambivalence also at the core of this EP, which navigates between harsh and nervous sounds, providing both heat and the (figurative and literal) chilling cool that we so desperately long for? Remember to stay calm when you can and that nature couldn’t give a fuck about whether or not we start acting only when it’s far too late; just consider your own insignificance while the melodies stretch out beyond the horizon and into the aether. May we suggest however that you wake up, take the first letter of each sentence, put them all together in order to see through the heat of the moment and the chilling anxiety in order to feel what’s true, real, and present?

When Yiğit Bülbül knocked on our door and put his debut album on the table, Fever took our hearts in a storm. The Turkish born, London based musician and producer knows how to craft his own contemporary avant-garde pop projections with a rich musical heritage shining through from the 1980s and 90s. His style erupts into silly, absurd moments of synth blurps, percussive extravaganza and psyched horns, It’s always colourful and trippy, but in a light way. It’s exactly what we want to release in a year of distress. The album is framed by two contemplative tracks, which are reminiscent of Holger Czukay’s oeuvre. The saxophone in the opening track "The Heath" undulates like an introvert leading voice in a meditation. The long and meticulously crafted ambient outro "Txalaparta" features a spoken word sample by the Basque folk musician Txomin Artola from 1978. The four tracks at the heart of the album are beat driven, percussion-heavy, loaded with synths and random horn samples. "Alo?" sounds like Snakefinger tries to get on a Skype call with Serge Gainsbourg. "Cacti All Over My Head" could well be a Ween instrumental with long arching synth lines over a slowed down bossa nova beat. Fever is a frivolous album which bursts with exalted charm and guest musicians. This is not another greetings-from-the-lockdown album, but with the obvious reference in the title it’s almost a tongue-in-cheek name about creative obsessions of our times. It's the debut album by the multi-instrumentalist Y Bülbül who has learned his trade working with various interesting artists and bands in London in the past 10 years. He is also a passionate crate digger and DJ. His own radio show is unerringly titled "Bülbül's Gemüsement Park", which airs on Netil Radio, a community broadcasting station in Hackney. Bonus fact, Bülbül is the Turkish name for a brown-eared passerine bird, one that's into singing.

Producer/drummer Teppo Mäkynen shares a new release with his celebrated alias The Stance Brothers. "On Top" is a solid gold Stance groover which appears on this We Jazz Records 7" vinyl single as two versions. On side A, the track is led by guitar and flute (the latter courtesy of Diamond T aka Timo Lassy) and the flip introduces a soul jazz scorcher with organ & vibes. Both cuts are ripe and ready to be enjoyed by DJs and home listeners alike.

"On Top" follows the remarkably successful Stance sides "Resolution Blue" and "Minor Minor", all part of the ongoing 7" series by the Helsinki-based We Jazz Records. The 7" comes with old school heat-pressed labels and a stylish generic brown sleeve.

More glorious heat from the vaults of NYC's Disco powerhouse - P&P Records!

One of many labels operating under the equally legendary tutelage of Patrick Adams and Peter Brown, two truly colossal figures in NYC's music scene, the P&P records catalogue is still fascinating underground dance music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

Cloud One was one of Adams' numerous studio outfits, featuring a ridiculously healthy dose of the man's virtuoso keyboard and synth playing. This was a progressive Disco sound, the pairing of extremely danceable funk and R&B with some spaced out over-dubbed analogue synthesizers and keys made for a heady concoction indeed, especially in 1976 when this cut was released. This was one of many Cloud One trademarks and one of the things that make these records still sound so way out today! 'Atmosphere Strut' could not be a better title for this immense slice of true NYC space Disco - it's got it all - the driving rhythms of the Cloud One band, the killer vibes, celestial vocals and Adams' totally wigged out synthesizer workouts. On top of all this goodness, the main man Kon, Boston's editor supreme and self confessed DIsco fiend and digger, has dropped a stellar and respectful edit of Atmosphere Strut' for all your disc jockeys out there, featured here across the length of the B-side thus making this an essential repress of this legendary 12". If you don't know this jam, and you're a Disco head - you're in for a treat! You're gonna fly......!

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Phase One Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.