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Presenting a collection of stone-cold classic breakbeats and b-boy jams from the sunkissed vaults of Miami's legendary TK Disco label!

NYC in the late 70's and early 80's saw a nascent street subculture fully evolve, a movement with it's own language, art, aesthetics, dances, fashion and way of living.

What would become what is now globally known as 'hip-hop' was in its infancy, with it's own legends and history being forged on an almost daily basis across the city's Black and Hispanic neighbourhoods. Music was central to hip-hop, the DJ was king and at the hands of people like Kool Herc, Grandmaster Flash, Grandmaster Flowers, Mean Gene, Jazzy Jay, Afrika Bambaataa, Charlie Chase and numerous other groundbreaking DJ's of the era, music took on a whole new meaning that would reverberate through popular culture for the rest of time.

The breaks - minute sections or breakdowns of a record where we get to the unadulterated groove and the band on the record cut loose - is what it was all about! Unlike the discotheque DJ's who favoured the long mixes and blends in their club scenarios, hip-hop DJ's were amassing huge collections of records that had these magical sections on them, often x 2 copies of each, so that they could elongate the best part of the record ad infinitum by cutting them up live - all killer no filler! These special on the fly mixes and edits were then unleashed in the local parks of their neighbourhoods, on gargantuan DIY sound systems for all of their friends and neighbours to party on down until the wee small hours. These breakbeat segments also gave the MC's space to address the gathered masses without their voices colliding with lavish string arrangements or vocals underneath. A clear, concise, stripped back slab of funk on which to put forth their ideas, feelings and rhymes for all to enjoy.

Collected here are some of those most infamous breakbeats, all from the TK vaults. These records were studied by these young DJ's, coveted, covered up, hunted down, whispered about in darkened corners by those who needed and obsessed over the freshest of beats. There's a good chance you will have heard these records in some form or another as they have been covered, sampled, recreated and spun in clubs across the galaxy for over 4 decades. These are the very building blocks upon which popular culture and club music have been built, and here they are all in one place for your listening enjoyment!

Released with love and respect by: Above Board and TK Disco, Miami FL. 2020.

Duke about this EP: Ironically one of my very first records was a disco sample in 1990 taken from Queen Samantha. I don’t know exactly what inspired me, but likely coming from the Hip Hop world where everything was looped and sampled brought me to doing the same for house and therefore the disco, funk etc samples for the house stuff. The first techdisco EP was done in 1995. I think there may have been a handful of other house records out that sampled disco tracks at the time. Harvey Mason’s Groovin you comes to mind. Sneak also had done a few, but maybe Pal Joey was one of the originals too that used loops, particularly Dance by Earth People. Joey also came from the Hip Hop world so we likely were inspired by the same style of loops.
The main concept was the idea of fusion. I was heavily into fusion jazz in the early 90s and that is really what spawned the techdisco and techfunk series. A mix between genres that hadn’t really been done before. Not saying I was the first, but I did my best to create a new and distich style.
I did everything myself when it comes to the techdisco series. In 1996 I traveled a lot DJing, in the states but mostly in Europe. I didn’t have time for a resicency at that time like I had prior to me being full time DJ/producer/label owner. I did do some remixes back then, but maybe not as many as I would have thought. Perhaps because people looked at me as having my own label and doing my own thing.

A memorable name with an outstanding cover, Fuzzy Duck is a classic slice of underground London art rock and melodic psychedelia. Originally released on MAM in 1971, it’s truly a musical force of infectious riffs and fiery solos, sharp tempo changes, a tight rhythm section and heavy, Hammond-drenched grooves. With echoes of Spencer Davis Group, early Grand Funk and Vanilla Fudge, it comes on like a heavier Soft Machine or Caravan. No wonder Fuzzy Duck’s cult appeal has endured.

The album features Mick Hawksworth (Five Day Week Straw People, Andromeda) on bass, acoustic 12-string, electric cello and some of the vocal duties, and also Roy “Daze” Sharland (Crazy World of Arthur Brown, Spice) on organ and electric piano. Accompanying those two were Paul Francis on drums and percussion, and Grahame White on guitars and the rest of the vocals.

Originally released in an edition of 500, Fuzzy Duck became legendary all over the world through a holy trinity of scarcity, personnel and its sheer brilliance.

The album kicks off with a heavy, bass-fuelled, Hammond rocker titled “Time Will Be Your Doctor”. This is pure hard-edged blues rock, brilliantly played. Its drum break intro was sampled by DJ Premier for Gang Starr’s “Mostly Tha Voice” on 1994’s legendary Hard To Earn. And we can hear its personality all over Harvey and Thomas Bullock’s Map Of Africa.

Rollicking highlight “Mrs. Prout” follows. At nearly 7 minutes long, it incorporates more psych-leaning guitar and drawn-out keyboards à la Ray Manzarek with the band effortlessly switching from jazzy rhythm section to a progressive one. That magnificent instrumental jam that starts half-way and continues through to the end is a true wonder.

“Just Look Around You” is propulsive folk-rock with a soaring, proto power-pop chorus, backed by frenetic organ and heavy bass high in the rich, intoxicating mix. Back comes the heavy, strung-out psych to both close out side one with “Afternoon Out” and kick off side two with “More Than I Am”. Both tracks are improvisational winners that stylistically nod to the late sixties and “More Than I Am”’s guitar hook, catchy organ and memorable chorus would’ve surely made it a great single.

“Country Boy” quenches the thirst for rhythm and melody, only the lyrics and vibe are wonderfully creepy. The sudden cut of the groove and the drop into a more sinister tempo will make you stumble, before the band pick up speed and toss you back again into the opening jam, this time with a badass organ to ride you home. The final, fully fleshed out track is the majestic “In Our Time”, which oscillates between endless organ-driven boogie and heavenly, genuinely moving vocals. Just stunning.

Infamous instrumental cut “A Word from Big D” rounds out the album. Yes, that’s the band jamming with duck quack sound effects accompanying the music. “Ducking vocals” as the sleeve says. You know, just in case the whole “duck” theme had passed you by. It’s an appropriate closer for what sounds like an album that must have been *a lot* of fun to record. It’s definitely fun to listen to.

Mastered by Be With’s chief sound duck Simon Francis and cut with glee by the veteran Pete Norman, this reissue of Fuzzy Duck’s one-and-only LP sounds as mighty as it should. That unforgettable sleeve artwork has been carefully restored and the records pressed by the wonderful Record Industry in the Netherlands. Essential.

Berlin-based, Dutch-born Steffi possesses near-boundless prowess. As a DJ, she’s proved her effortless mastery of disco, house, electro, and techno; as helm of labels Klakson and Dolly, she’s long maintained her status as tastemaker; as a producer, she has graced us with three solo LPs and numerous 12”s. Dark Entries is now honored to unveil the debut of her project Crushed Soul, a moniker she had used only once in 2013 for an Ostgut Ton compilation track. The mutual esteem of Steffi and DE has been previously fruitful, with Steffi providing a remix for Cute Heels’ 2016 EP on DE, but this is their first full-length collaboration.

The Family of Waves EP represents both familiar and novel pastures for Steffi. While her love of electro and classic Detroit techno have been oft-evident, here we witness the darker shades of new wave and industrial creep to the forefront. This turn for the twisted feels not just natural, but predestined, an inevitable succumbing to morbid forces. But Steffi also views Family as “a playful association...a mix of my past and new modern waves". There is a kernel of whimsy, even joy, lurking within the record’s temporal jumblings. The A-side opens with “Gravitational Field”, which juxtaposes its gnarled bassline with unearthly percussives and a recurrent resonant gong. The wild sonic palette speaks Steffi’s singular voice. “Scalar Property” continues the paranoid propulsion with an unhealthy dose of what can only be described as Metroid-funk, its staccato bass jabs interlaced with ghastly vocal pads. The B-side contains a diptych of slower tracks that juggle reference points both retro and futurist. In “Family of Waves”, a churning EBM-esque bassline battles acerbic yelps. On this track, the collision of past and present is most pronounced, as if A Split Second were covering Mike Parker. “Diffusion of Heat” closes the EP with what feels like a perfect synthesis of Steffi’s musical passions: funky, warbling chord stabs; intricate rhythmic diversions; the ecstasy of repetition. Here, disco, new wave, and techno marry harmoniously, if only to inform us of the disharmony of our present.

All songs have been mastered for vinyl by George Horn at Fantasy Studios. The sleeve and accompanying postcard were designed by Eloise Leigh using video art stills by Goldenliustra.

HIGHLIGHTS First ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965. The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoon show), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor. It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Presented in its original artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs. DESCRIPTION While Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a "novelty" record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors' items over the years. One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, "Kabwlú" (an unpronounceable, invented "caveman" term that is also untranslatable, but seems to have been the 'traditional rhythm' of Los Picapiedra's 'homeland'). What is interesting about the record is that it is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Much like its namesake American cartoon The Flintstones, "Kabwlú" trades in creative anachronism, mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor that works on many different levels. For instance the title tune seems to have been inspired by the pachanga craze and recalls the vibe of Ray Barretto's massive 1962 hit, 'El Watusi', but it has a certain joyful simplicity and rock-solid underpinning that elevates it beyond mere novelty or exploitation - and argues for its timely reissue for today's audience. The band was a studio invention that had no major significance in Medellin's live music activity. However, several of Los Picapiedra's songs were very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Pablo E Yglesias (aka DJ Bongohead, Peace & Rhythm) Additional research by Luis Daniel Vega

Dona Aka Dj Plant Texture’s debut on Mannequin is the result of an effective true love for the early Chicago Acid and Jackbeat, mixed with textures of EBM and Cold Wave.
“Mindscapes”, featuring the haunted vocals of Aloth, represents a trip into states of consciousness and psychiatric diseases. Ispired by some reports describing America’s Mental health System during the latest 70’s, the EP is a blend of analog machines, forced to create the perfect jam session.

Mastered by Q3000
Graphic design by Silent Servant and AA.

Limited edition of 300 copies on 140gr black vinyl.

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

‘LiteAce Frequency’ is a collection of songs influenced by 70s Manila Sound and Pinoy soul, as well as incorporating elements of Japanese funk, Brazilian sounds and hip hop.

‘LiteAce Frequency’ follows Vex Ruffin’s ‘Emilio’ EP, released on Stones Throw in May.

The album will appeal to fans of Bullion, James Pants, Dam-Funk, Teebs, Daedelus, Paul White, Anika, Toro Y Moi, Ariel Pink.

Vex Ruffin’s music has featured on soundtracks for HBO’s hit series ‘Girls’ and Netflix’s ‘Russian Doll’. Vex Ruffin has a monthly radio show on NTS and will be supporting the release of his new album
with DJ sets, live streamed performances and active social media engagement.

Vex Ruffin has previously collaborated with artists including Anika, James Pants and Bruce Haack.

House and techno focussed FINA sister label FINA WHITE comes through with more direct dance floor grooves from Bodyjack, aka Chris Finke. The veteran artist serves up two killer tracks, one dub and four locked grooves that provide serious heat for DJs and dancers.

Before now, former DMC competitor Finke has established himself with his Bodytrax label in association with the Clone.nl crew, standout mixes for Radio 1 etc and EPs on the likes of UTTU, Hypercolour and DEXT, all while being a famous former resident of titanic techno party Atomic Jam and playing the world's finest clubs for years.

Arresting opener 'Measure Twice, Cut Once' is a big, buoyant techno monster with warped acid lines and raves vocal stabs all adding fuel to the fire. The locked grooves serve up scintillating breakbeats that are hugely powerful and ripe for abuse in the club, and then 'Enfant Terrible' is a dark and eerie warehouse monster. The bass is loud, the kicks rock solid and an echoing female vocal lost in the midst of it all draws you in deeper. Closing things out, the dub versions strip things back to gritty chords and heavy, well-swung kicks that make you march.

This is high class, high functioning techno from one of the finest in the game.

Philadelphian multi-instrumentalist, producer and engineer SWARVY makes his solo debut on Kamaal Williams's imprint Black Focus with a stunning new EP entitled ‘Sunny Days Blue’, his first release as
the primary vocalist.

Smoked-out sound beds and lofi guitars sit gently with SWARVY’s voice, creating a juxtaposition of melancholic, yet sweet, melodies that loop in your mind’s ear long after the record stops spinning.
‘Bones’ opens with a stripped back rhythm section and existential observations referencing the human condition of overthinking, a recurring theme throughout the EP. ‘Cool’, ‘No Compute’ and ‘Smile’
subtly infuse jazz, funk and hip hop elements, while ‘New Moon’ plays out as a low slung hypnotic hymn echoing gracefully into the record’s closer ‘Ginger’ - a meditative ambient spiritual for solo piano.

Since relocating to Los Angeles in 2015, SWARVY produced a variety of records via DJ House Shoes’ Street Corner Music, Leaving Records and Fresh Selects. His writing and engineering credits extend to dozens of tracks by artists such as Maxo, Earl Sweatshirt, Nia Andrews, Mndsgn, Liv.e and the late, legendary Tony Allen.

Green vinyl includes digital download card.

Das Debütalbum des Briten Jake Storm Glover aka Stametshroom, der von Alex Paterson (The Orb) gebeten wurde, einige Ambient/Downbeat-Tracks für dessen Resident-DJ-Sets bei WNBC Radio zu erstellen. Das Ergebnis sind diese fünf entspannten Tunes zwischen Balearica, Space-Electronica und Ambient/New Age in Längen zwischen drei bis acht Minuten.

Horse Meat Disco unveil the latest preview of their forthcoming album ‘Love & Dancing’ with ‘Message To The People’, featuring one of the main co-artists on the LP, Amy Douglas, alongside soul trio Dames Brown. A record that started as an adaptation of the Shirley Caesar original, recorded in the studio with the Dames; Horse Meat Disco and Luke Solomon then headed to Amy’s native Brooklyn, where she wrote her verses sat at the piano for this sublime disco jam. This 12” delivery features remixes from some of the genre’s most revered artists, each turning their hand at this labour of love. Up first, unrefuted master of the edit Danny Krivit delivers a blissful, club-friendly extended version, making full use of the longer playtime with an elegant, journey-like mix. The Key-A-Pella follows, an essential DJ tool that allows Amy and Dames Brown’s vocals to really shine. The funk-fuelled Michelle Mix kicks off the B-Side, an empowering, uplifting narration provided by a sample taken from none other than former First Lady Michelle Obama, inspired by Chicago legend Kelly G.’s creative sampling on his Deeper Message Groove mix, the track that closes out the release. Kelly’s mix is a soulful, grooving affair with dreamy keys you can’t help but move to.

Will Saul, DJ/Producer and Aus Music label head primes the 150th release for the longstanding British label with a stellar cover of the 1990 seminal techno record of the same name by Yolanda on seminal label Underground Resistance.

With the original record being one of Saul's all time favorites and UR being a constant source of inspiration it was beyond a dream to get his version fully approved by Mike Banks to celebrate the landmark anniversary. Saul then worked with Berlin based vocalist Gilli.jpg - who has recently worked with Cinthie - to re-vocal Yolanda’s song.

As a former intern at Skint in the late 90s heyday, this up-streamed anthem feels extra special finally landing digitally on the label where Saul began learning his trade over twenty years ago. The vinyl will be released on Aus. There is also a version expected later this year which see's Saul collaborate with Paul Woolford and additional remixes by Move D and Space Dimension Controller that will land shortly. The release features artwork by Trevor Jackson, the man behind the Output label, who’s releases launched careers for huge artists like Four Tet and LCD Soundsystem to name just a few. His iconic, pop art influenced work has been seen on releases including the undisputable 80’s dance classic, Raze ‘Break 4 Love’ and S'Express 'Theme from S'Express'.

Strut present the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, covering 1975 to 1993. Formed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James "Plunky" Branch returning to the city from New York to form Oneness Of Juju. The band's 'African Rhythms' album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire hand-illustrated sleeves for the label's debut release.

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

Emma-Jean Thackray, an outstanding figure in the UK jazz scene, releases Um Yang, her long-dreamed project dedicated to the Taoist philosophy of duality and harmony. Ahighly ambitious and personal record that sees Thackray leading a septet featuring
Soweto Kinch and Steam Down’s Wonky Logic, recorded straight to vinyl. An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brewera Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record
label, Movementt (in association with Warp). Championed by Gilles Peterson, Theo Parrish and Jamie Cullum, Thackray has firmly cemented her place among a new wave of exciting young
musicians, collaborating with Makaya McCraven, Junius Paul and Angel Bat Dawid, and still finds time to host her monthly radio show on Worldwide FM. Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals,
Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.

we are very happy to announce this killer remix package. our dear friend superpitcher(aka pachanga boys) made three versions of remix.

studio mule’s original version which is produced by kuniyuki takahashi and sung by miyako koda (aka dip in the pool) is a cover version of japanese 80’s dance classic by taeko onuki.

superpitcher’s main mix is just for your peaktime set. it’s much more groovy and dance floor friendly than original version. it might be this summer anthem(if the party will be restarted…).

dub mix is more stripped down version and for more disco oriented dj. we love this version so much since superpitcher have been playing at his dj set.

ambient mix sounds like a japanese kankyo ongaku,it’s simply beautiful meditative music. beautiful cover design is by lily fei in new york, she is our new favorite illustrator.

Originally conceived by Danish beat maker KVBeats for his critically acclaimed debut producer album ""The Résumé"" (SoulSpazm 2010), the blazing Slum Village track ""We Do It"" featuring Elzhi & T3 gets officially remixed by legendary DJ Spinna and UK's own Jazz Spastiks for this limited edition 45 release. DJ Spinna has been a staple for the underground scene; handling highly praised remixes for Mary J. Blige, Michael Jackson, De La Soul, and Stevie Wonder. He collaborated with an array of lyrical giants such as Eminem, Talib Kweli, Pharaohe Monch, Mos Def, and many more throughout his career. This time the Brooklyn producer lends his signature spaced-out, genre crossing boom bap feel to the A-side of this 45, instantly taking the listener back to the great late 90's indie era. On the B-side, the Jazz Spastiks place their typical jazzy flavored sound behind this highly lyrical Slum Village track. The UK based production duo have released quality boom bap projects on a string throughout the last few years as well as re-introducing indie icon Godfather Don to the hip-hop scene in 2018 with a smashing album and two brand new singles. Both remixes are a sure treat for any 90's hip-hop follower.

The globetrotting beat maestro is back, with a truckload of tropical vibes and the irresistibly danceable soundtrack to your Summer! 3 years after releasing his groundbreaking collaborative album with singer Chico Mann (which landed him live sets on Boiler Room & KCRW's Morning Becomes Eclectic as well as a feature on NYTimes "Best Songs Of The Week") DJ/producer Captain Planet returns with NO VISA, set to drop June 26th on Bastard Jazz Recordings. In his trademark "Gumbo Funk" sound, the album mixes rhythms and musical styles from the Caribbean, Latin America, the Middle East and Africa, over highly danceable electronic beats, all firmly rooted in the hip hop, dancehall and house music that the Captain grew up playing as a DJ. Seamlessly bouncing from Brazilian Baile Funk, to Afrobeat, to Roots Reggae and Latin House, the entire record delivers the uplifting feel of one of the Captain's legendary boundary-crossing DJ sets. Building on these traditions he draws from, the Captain has created something fully original and unique.

NO VISA, the 5th full-length album from producer Charlie Wilder (aka Captain Planet), is both a return to form and a launchpad into the future. With 13 songs that feature vocalists from around the world, long-time fans will recognize several previous collaborators as well as the global influences that have always been central to Captain Planet's music. New friends, like prolific Zimbabwean-American singer Shungudzo (who has recent hits with Oliver Heldens & Rudimental), and Jamaican reggae star Jesse Royal, bring powerful subversive messages to the music as well. Showcasing the Captain's production chops and songwriting talents equally, the album unveils a unique musical landscape, a place where our political boundaries and cultural hierarchies begin to dissolve, where foreign languages mingle together and deep rooted traditions dance with the future.

With NO VISA, Captain Planet unveils a fully matured and truly unique form of electronic music- one that bridges gaps between worldwide cultural diasporas as well as contemporary dance music sub-genres (house, hip hop, dancehall & global bass). Throughout every Captain Planet song, it's clear to hear his inspired appreciation for breaking the boundaries between genres and bridging continents through rhythm.

Originally written and produced as the centrepiece to his 2014 FabricLive compilation, Erol Alkan’s ‘Sub Conscious' arrives on 12” vinyl and to streaming platforms for the first time, accompanied by two charismatic remixes from Manfredas.

Shimmering and undulating, the original cut of ‘Sub Conscious’ was designed with Fabric’s cavernous main room in mind, taking full advantage of any finely tuned soundsystem with a patient, rhythmic trip. Remastered here, the track evolves out of hazy darkness towards halcyon euphoria in a uniquely Alkan style.

Resident at Opium Club in Vilnius, cult DJ and producer Manfredas provides two hugely creative and alternative takes on ‘Sub Conscious’. The first works hallucinatory magic with a supple bassline and much of Alkan’s original stretched and repurposed around vampish oscillations and a westward vocal sample.

On the contrary, the ‘Stream Of Consciousness' mix sees Manfredas pitch down and strum the bones of ‘Sub Conscious’, unexpectedly delivering a lovingly lethargic, bottom-heavy jam that’s pure dub-side pleasure.

For this project called 'the joint venture', Inner Shift are teaming up alongside Deep Explorer. This part on Inner Shift follows the first part which was released earlier this year on Deep Explorer. .Mahal. is a Japanese producer and dj with a history of playing music with previous releases on Rough House Rosie. The "Space Space Ep Part 2" contains 3 original tracks that dive into deep house with a more abstract edge. Red & Blue immediately captures your attention with original sensual guitar and vocal lines. Remix duties are courtesy of the Deep Explorers Above Smoke and Dubbyman taking Red & Blue into a broken beat downtempo space. On the B side Behind the Scene has a more abstract edge, and Mind Games with its driving acid bassline is complimented by lush chords keeping it warm and deep.

• Busi Mhlongo’s chart-topping, award-winning 1999 album
• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Kwanele Sosibo

Urban Zulu changed South Africa’s music forever, rewiring Zulu migrant roots music for the 21st Century. Busi Mhlongo’s powerful voice and challenging lyrics soar over driving bass lines and glittering guitars of an all-star South African maskanda line-up, backed by a multi-national cast including Lokua Kanza, Brice Wassy, Jacques Djeyim and Will Mowatt.

With this album Busi Mhlongo subverted and then claimed Maskanda music’s previously patriarchal space, voicing a new social blues narrative. Her songs cut to the essence of simple joys, unrequited love, abuse in the name of love, and month-end money blues.

Topping charts in Europe and South Africa, Urban Zulu struck critical and commercial success.

Yehlisan'umoya Ma-Afrika “creates a sensation of being inevitable because the riffs are so organic, it feels like it would be a crime against nature if they fell together any other way” (AllMusic).

'We Baba Omncane' became the sound track for a global Adidas campaign, while a later re-mix became a smash hit for Black Coffee.

the second release of montreal based veteran producer guillaume&the coutu dumonts on mule musiq. the title track featuring dave aju is uplifting jazzy vocal house.groovy dance floor killer. “astronomie” on b1 is cosmic jazz fusion deep house and “grand signal” on b2 is classical jazz house which is remind us “once again by henrik schwarz and kuniyuki”… all of tracks were originally produced by his band project and he has reproduced for more dj tool version.

The Beneficiaries ist ein brandneues Detroit-Projekt von Jeff Mills, für das er sich mit zwei weiteren Detroiter Legenden zusammen tat: dem nicht minder visionären Detroit Techno-DJ/Produzenten Eddie Flashin' Fowlkes und der Poetin Jessica Care Moore, bekannt durch ihr 2015er Album "Black Tea: The Legend Of Jessi James" (feat. Roy Ayers, Talib Kweli, Jose James, Ursula Rucker), ihrem Beitrag zu Rawkus' legendärem Spoken-Word-Sampler "Eargasms", aus Russell Simmons' HBO-Serie "Def Poetry Jam", sowie Kollabos mit Nas ("Nastradamus"), Jeezy und den Silent Poets. Ferner wirken Amp Fiddler (Keyboards) und die beiden Perucssionisten Sundiata O M und Efe Bes mit. Die 6 Tracks haben eine Länge zwischen fünf und vierzehn Minuten.

Ramrock Red Records are incredibly excited to present Kameelah Waheed – straight outta New Jersey. Brought to our attention by London DJ/promoter, Barry King, Kameelah immediately delighted us with her direct, no messin’ delivery, compelling, earworm hooks and beautifully crafted lyrics.

Teaming up with Kelly Murray on co-production on the ‘Original Version’, Kameelah unleashes a stripped back, jazzy hip-hop vibe punctuated with a Donald Byrd’ish trumpet riff. The North Street gang take the Donald Byrd flavour a step further with a full on nod to the Mizzell Brothers in the first North Street West dusty funk production. Releasing digitally around April 24th as a five track EP with a further 7” vinyl release around May/June, ‘Holding On’ is set to tick a lot of musical heads boxes.

Growing up in an Islamic household, sneaking snippets of worldly music into her household was close to pulling off a major heist during Kameelah’s teenage years. She was introduced to the world of sound from MTV, rap and house music and the live bands of the 80's courtesy of her older sister, along with tribal and island music that her mother played. Kameelah was encouraged to consider song writing as a career option when she received an opportunity to write for Bunny Sigler of Philadelphia International Records. Heading up the hip-hop rock band band, Gov’t Cheaze in 2000, Kameelah performed at Philadelphia’s Black Lily Film Festival as well as a set at the very first Roots Picnic.

Previous releases have included ‘Traveling’ by Kameelah Waheed & GC, produced by Larry Gold, featured on the ‘Beat Generation Compilation’ released on BBE, making the Top 10 Most Played on UK urban radio stations. In 2011, Kameelah Waheed and Government Cheaze signed with indie label, Philly Through My Ear (PTME) founded by Will Smith Sr. The self-titled CD can be found on iTunes.

Time for some magic as longtime friends Guti and Djebali present their debut collaborative LP ‘Almost Finished’. The two artists decided to get together in Djebali’s Paris studio when Guti was in the French capital in April. With no real plan besides the chance to have a jam together they ended up locked into a four-day session, producing six tracks. In the months that followed, both men roadtested the music around the world, receiving positive feedback everywhere they played. Feeling they’d created something special, the decision was made to arrange a second session at the end of the summer.They found themselves fully immersed in another intensive recording session, where the idea was to make more music based on the existing tracks to create a cohesive body of work that would form an album. Guti and Djebali composed an intro, an outro, interludes and new tracks that complemented those they’d made earlier in the year. Artwork has been specially commissioned from Mister Piro, a protégé of world-famous Madrid-based artist Okuda. The result is a dancefloor-focused collection of 8 tracks (plus a digital bonus) and stunning artwork, which comprise the ‘Almost’ Finished LP

Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic "The Loser" is canon, a masterpiece of Jamaican sweet soul instantly identifiable from its first chiming piano notes. In a nod to the "disco mix" DJ versions pioneered by Harriott, the Lions mic man Black Shakespeare provides a period-perfect chat backdrop to the Impressions-istic harmonies of the band, giving the tune an au courant spin while staying wide of heavy-handed faux ragga. All said, we wouldn't have felt right about releasing this without running things by the family, so we consulted Duane Harriott who approvingly called it "a brilliant take on one of the best rock steady songs of all time! Not an easy one to cover well and the Lions smash it out the park."

Songs for dancing, having fun, and vibing out, B. Bravo's latest project, the "Cosmic Mind" EP, brings listeners to the dancefloor by way of a healthy dose of talk-box, retro synths and irresistable boogie grooves.



Los Angeles producer, talk-boxer, remixer, DJ & instrumentalist, B. Bravo, has been flipping interstellar references and laying down galactic beats for over a decade. From 2009's Analog Starship to 2020's Cosmic Mind EP, the funk in him is alive and well. Born in California with roots in Japan, Bravo combines his love for jazz, soul, hip hop and electronics into his own signature sound of swinging grooves, melodic synths and bouncing analog basslines.

Sudd WAX is a vinyl only label of Sudd Records Family. The Limited Series, starts with STK named Electronic Roots. Conceptual, contemporary, the release shows electronic aesthetic into non-labeled genre but music. Figuring out Techno, Jazz, Drum'n'bass influences, into electronic raw textures, arranging something uncommon, but sense at all.

We are happy to welcome UK-based producer Native Cruise on Slam City Jams. The guy was on our radar since his releases on No Bad Days and Fruit Merchant that easily combined house music with new-age synths, a wave/EBM touch and balearic sounds.
His „Human Nature“ EP is no exception with five outstanding tracks that differ in tempo and vibe.
The opener „Crew Talk“ is a percussion heavy tune with lots of cowbells, a funky DX7 bass line, deep pads and dramatic chords that build up and up towards the end.
„Elsewhere" is the most housey track on this record, with four-to-the-floor 808s and bittersweet strings that burst out into euphoria. Closing down the A-side is „Fooled Again“, a balearic cut that feels like a day in the sun with it's little synth blips and arps.
On the flip we find the title track „Human Nature“ that might be the hidden jam on this EP. Hard hitting Linn Drums, digital synth bells and those haunting vocals we can’t get out of our heads. Finally we have „Not Long Now“ a perfectly atmospheric deep tune, that sits somewhere between ambient and reggaeton and will make fans of DJ Python more than happy.

Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with 'African Rhythms 1970-1982', a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch. Tracing their career from the band's earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band's journey to New York's loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. "I saw myself as a cultural warrior," explains Plunky. "We studied about Africa and tried to infuse our music with an African spirit." Moving back to his hometown of Richmond, Virginia during the mid-'70s, Plunky drew in a superb new group of musicians and vocalists and created the band's new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R'n'B on the classic 'African Rhythms' album. "We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn't change anything about our message." The change would lead to a series of enduring soul-jazz classics on Jimmy Gray's Black Fire label, including 'River Luv Rite', 'Plastic' and 'Don't Give Up' and their biggest crossover international hit, 'Every Way But Loose' in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-'80s as Washington D.C.'s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

In terms of "legendary" House records, it doesn't get any better than LNR's "Can't stop the house".
Originally released in the golden year of 1987 the Chicago duo of Larry Thompson and Rick Lenoir (with a helpful production assist from the mighty Adonis and a dope remix from Steve "Silk" Hurley) crafted this anthemic slab of chunky, funked out jacking House. "Can't stop the house" is a straightforward, stripped back club track, no special FX - just straight up party music for sweaty dancefloors. This official 2016 reissue contains 4 mixes of this stone cold classic - The vocal mix, basement mix, house of trix mix and the rapid edit, all culled from the numerous pressings that came out in 1987 - 1989. In a sense, this is "the complete" collection of this cornerstone of Chicago House. The full set. All audio has been lifted from Rick Lenoir's private collection of reel to reel tapes from his basement and remastered accordingly. This reissue has been realised with the full involvement of Thompson & Lenoir and is 100% legit! Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2016 - You can't stop it!

DJ Support and positive Feedback by the likes of
Laurent Garnier, Dixon, Ame, Adriatique, Ian Pooley, Timo Maas, Trikk, Frankey & Sandrino, Sacha, The Drifter, Severino (Horse Meet Disco), Alex Dallas (Zukunft Zürich),
Yør Kultura, Lehar, Denis Horvat, BOG, Echonomist, Fred Everything, Luca Bachetti, Karotte, Roberto Rodriguez…

We're happy to announce the fourth chapter of our sought-after Outbound series which also marks Lossless' second release in 2020. After two extended chapters of Outbound, fully showcasing our labels artist roster, Outbound.4 is a crisp double A-Side affair - featuring two killer Techno workouts courtesy of our French stalwart Anthony George Patrice followed up by two Deep/Dub House delights delivered by Son Dos.

Without a doubt, Berlin based frenchman Anthony George Patrice steadily adjusted and developed his sound to a higher level over the last years. His contribution on Side A - "DBZU (Eine Brücke Zum Übermenschen)" and "Crowned Eagle" exposing new artistic shades and Anthony's ability to take you on a sonic journey and soak you into his rich and driving deeper Techno soundscapes.

Side AA belongs to Son Dos - a creative power plant by two Sweden born men: Barcelona based Marco Gegenheimer and Tapia J. Arriagada living in Malta. The duo already caused a stir with their debut "Children Of Almost" on Outcast Oddity. Marco also released some great music on Studio Barnhus as one half of MLiR!
On our Outbound.4 the guys showcase two amazing cuts originated from fruitful studio jams.

The beautiful "Cala" is hypnotizing us in deep, meditative balearic territories while her powerful brother "Maffio" might have had a little testosterone injection along the way and moves us straight onto the dancefloor. Both tunes are capable to unveil their power outdoors just as much as they will in a sweaty basement!

Son Dos quoting on Anthony George Patrice's tracks:
"These songs sound like a Movie score to us, a soundtrack taking you further and further into an unexplored forest: ...you are on a mission ... chugging drums, haunting strings and rolling percussion guide you... your heartbeat intensifies, with each step that you take...
all of a sudden, the floor underneath you turns into flowing geometrical patterns and you start falling...
a voice tells you "Happiness Is A Miisunderstanding", and the fear you had leaves your mind...you connect yourself with a higher power and realise why you started this mission in the first place"

Anthony George Patrice quoting on Son Dos tracks:
"Lovely balearic yet powerful atmosphere on "Cala"… Head flies and shoes get used. All that you wish for!" ...
"Hands in the air for "Maffio"! Here comes the peaktime booming system. Simple, efficient yet super interesting and deeply rooted dance floor killer. This is ace!

Chicago based DJ/producer ANDREW JOSEPH drops his 2nd EP under his PTO alias (following the “DRINKS/CASUAL FRIDAY” 12″ released in 2018). The record is a celebration of the 808 and its renowned ability to get the party started. The 4 track house EP feats an electro remix of the title track from living legend EGYPTIAN LOVER! Italian producer NICO LAHS of ADEEN RECORDS fame gives it a smooth but dark and moody deep house remix followed by the electro jam “WAY OUT".

Ragoo Records celebrates its debut on wax with an highquality record, “Break It Down”. The release features an
original cut from Astratto & Brine plus three stunning
remixes from the best young talents in the Italian house
scene. Recorded and fully composed on the first day they
met in the studio, the Original Mix is a dusty deep house
jam perfect for the club or for chillin’ wherever you want
to. For Astratto, Ragoo Records co-founder, this
represents his first official vinyl release. Brine has
delivered hot tracks through the infamous Irma and has
recently appeared on Boogie Cafè Records and Trend
Records. On the A2 Sam Ruffillo offers an impressive
remix that merges the Original to the land of jazzy vibes
with some smooth Rhodes and an extra groovy bassline.
Over the last years Sam Ruffillo has been releasing great
EPs via Irma Records and the Bristol-based Boogie Cafè.
DJ Rou’s remix occupies the flip side with a real classic
deep house joint full of warm pads and rolling drums. Chief of L'Archivio record store in Bologna, charismatic DJ and
outstanding producer, DJ Rou has released his music
through labels such as Bosconi Records, Cognitiva, Red
Rooster and Daphian Prod. The B2 remix is produced by
D’Arabia, Red Rooster founder and House of Disco
affiliated artist, who accomplishes an hot groove
explosion, with a special Jamiroquain feeling, perfect for
burnin’ the dancefloor. This EP is intended to be a
snapshot of Bologna’s house music scene. All artists
featured on it are based in the city and contribute to its
musical landscape.

Welcome to the funky zone of Boogie Butt, the label that brings you the bass with some musical flavor and boogie synthesizers. On this 4 tracks EP cooked by Lord Funk, you’ll find on A side “Blow Your Mind” featuring Djazzafonk on guitar & jam synths and “Knock Me Out” a killer P-Funk. On B side, you’ll have between the dope boogie of “Luv Girl” or, last but not least, “Do It (If U Like)” for the hypest dancefloors. Don’t miss it!

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

A wicked triple gatefold album... anthologic of the underground hardstyle newslkool crossing the old school road and finally pushing a superb talented

Jullian Gomes returns with the second single from his 'Slow Poison' album and this time he brings in the heavy weights of house!

‘Stay’ which features the incredible voice of ZAKI IBRAHIM is a smooth cut but don't let that fool you as this also works perfectly mid set. Usual bumpy grooves & lush backing delivers the original Jullian's unique touch.

Remix team... OSUNLADE / FRED EVERYTHING / DJ SPINNA. Yep, all three of them on one slice of plastic makes for a 12" you can keep in your box for all occasions. Top drawer work from all three remixers as you would expect.