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Jakob Mäder is a DJ and producer based in Stuttgart. Very close to Johannes Albert (Frank Music). He has been multiplying his releases in the last years. His universe is a subtle mix of house, italo and even trance. And it’s some good house music with some slightly trancy touches which are in the spotlight on the first track of this EP for our beloved label Skylax Records: The fabulous „Chord Anthem“. 

This excellent opener reminds us the mid 90’s finest hours when there were no genre barriers. A title designed to last! To be played without moderation as well as in a house, italo or trance DJ set. “The Essence”, a solid and smooth title, receives the „Shan“ (from Running Back) treatment. “Magic Pitch” is eyeing the side of Chicago with always this hovering and acid side. And to close this EP, the uptempo “There Is Hope” because yes there is indeed a lot of hope for this young producer full of future. Note that on the label’s bandcamp, with the purchase of the vinyl, you can get 3 exclusive bonus tracks (!): „Always A Dreamer“, „The Essence“ (original version) & Universe.

Adam Gibbons meldet sich mit Volldampf mit seinem achten Lack Of Afro-Studioalbum zurück. Es ist ein Album voller Hoffnung, Optimismus und guter Zeiten, inspiriert von seiner US-Reise zu den legendären FAME Aufnahmestudios in Muscle Shoals. In einer über 17-jährigen Karriere, in der seine Musik in Filmen und TV-Shows auf der ganzen Welt zu sehen/hören war und millionenfach gestreamt wurde, musste Adam viele Herausforderungen überwinden und kehrt nun auf SQUARE ONE, den Anfangspunkt, zurück. Dabei liefert er seine bisher beste Arbeit ab und geht auf seine erste US-Tour. Mit einem erneuerten Sinn für Inspiration und Energie ist Adam entschlossen, den Funk am Leben zu erhalten.

Flying high for the tenth anniversary of "Blackbird" album, we're pleased to announce the brand new Blackbird Returns remix album descending on the breeze. Friends from around the world, Nightmares on Wax, Jazzanova, KINGS, Syrup D, Christoph El Truento & Lucky Lane, DJ Philippa, Feiertag, Marcus Worgull, The KCBS, YARNI feat. Liv East, Dub Pistols vs Freestylers and Kid Fonque have remixed their favourite Blackbird tracks.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

Vinyl mit Downloadcode. Die LP und CD Versionen dieses Albums unterscheiden sich in einigen Details: Nicht mit an Bord bei der LP-Version sind die Songs "Intro" und "Ends", die sich auf der CD finden lassen. Dafür gibt es auf der LP den Track ,Body And Blood" in einer längeren Version. Außerdem tummeln sich auf der D-Seite 100 Locked Groove Audio Loops, die exklusiv nur auf dem Vinyl auftauchen. ,CLIPPING. machen Partymusik für den Club, bei dem man sich wünscht, nie in ihm gelandet zu sein; das Auto, bei dem du dich nicht erinnerst, wie du eingestiegen bist und die Straßen, auf denen man sich nicht sicher fühlt." (Aus der Pressemitteilung für das CLIPPING. Debüt ,Midcity", das im September 2012 veröffentlicht wurde). Seit das verfasst wurde, hat sich einiges geändert für CLIPPING. Die Band fand heraus, dass die potentiellen Hörer bereiter für sie waren, als sie es erwartet hatten. Vor ,Midcity" erwartete keins der Mitglieder (Rapper Daveed Diggs und die Produzenten Jonathan Snipes und William Hutson), dass ihr kantiger Rap ein Publikum finden würde. Die Band war ursprünglich als Remixprojekt und Fußnote im wahren Leben der Mitglieder gedacht: Diggs ist ein Bühnenschauspieler; Snipes komponiert Filmmusik und Hutson ist ein etabliert Noise Musiker (Snipe und Hutson kollaborierten beim Soundtrack zur IFC Dokumentaion ,Room 237"). Doch seit der Gründung von CLIPPING. weitete sich das Feld der kommerziellen Musik leicht aus, so dass plötzlich Platz für mehr Noise und mehr Abenteuer in der elektronischen Produktion war (obwohl CLIPPING. selbst natürlich darauf bestehen, dass sie Rap Musik machen). ,Clppng" ist ambitionierter als ,Midcity". Das Album wartet mit Gästen wie Gangsta Boo (Ex-THREE 6 MAFIA und momentan bei DA MAFIA 6IX), Guce (Veteran der Bay Area; Mitglied von BULLYS WIT FULLYS), King T (Gangster Rap Legende der Westküste; Gründer der Likwit Crew; Mentor von XZIBIT und THA ALKAHOLIKS) und COCC PISTOL CREE (Newcomerin aus Compton, bekannt vom DJ MUSTARD Mixtape ,Ketchup"). ,Clppng" weitet die experimentellen Sounds der Band aus, um eine größere emotionale Palette zu bedienen. Doch die Band ist nicht zum Softie geworden; das Intro des Albums ist eins der brutalsten Stücke, das die Band je aufgenommen hat und ,Or Die" (feat. Guce) ist so bitterböse wie alles auf ,Midcity". ,CLPPNG" ist ein Album, das unter Beweis stellt, wie vielschichtig Sound sein kann, wenn die Regeln eines Genres mutwillig in Frage gestellt werden.

Part two of the DJ Phantasy Unreleased series. These tracks were discovered over the past few years on the DAT’s that Phantasy has had in storage since the early 90’s. These two tracks were recorded in 1993 at Jack Smooth’s studio and were engineered by Alex Reece.

Dark, moody and melodic – the trademark sound of DJ Phantasy around this time, drawing from the endless raves that he was playing in 1993. But in 1993 the scene and the sound was constantly advancing and tracks were sounding dated within a month or two, so they were not released back then. But now they sound fresh and futuristic and we at Vinyl Fanatiks are so lucky to be able to work alongside Liquid Wax to be able to share them for the first time.

Released in a high quality gloss Liquid Wax housebag and white inner sleeve.

Bar Musica kicks off 2016 in style with a new EP from Bartomoleo that features one hot original as well as remix from Einzelnkind.

Unlike many in the dance world, Bartomoleo has formal training in classical music behind him. He is influenced by everything from jazz to blues to new wave and exploring electronic music comes naturally to him. His beats are richly detailed and expertly produced and his DJ sets are equally considered. Essentially, he has a delicate and emotive touch and that shows in this new EP.

The excellent L'Azdora is a deep and bubbly home cut with loose percussive patterns and rubbery drums full of warm human feelings. Trippy synths add a curious vibe and colourful pads help flesh out the groove. It is a turning track full of feeling and musical invention and is sure to get into the soul of all who hear it.

German Cocoon star Einzelnkind remixes and does so with a more uptempo slant. His version is slick and tech house feeling, with watery droplets, energetic drums that have real force in them and lots of fluid percussive lines that make you want to move.

This is a tidy two track package that confirms both label and artists to be right on form.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Mark Thomas Griffin, besser bekannt als MC 900 FT JESUS, ist amerikanischer Rapper aus Dallas, Texas. Griffin ist ein klassisch ausgebildeter Musiker und Trompeter und bekannt für seine Mischung aus Hip-Hop, Jazz und Elektronik, die in den 90er-Jahren ihrer Zeit weit voraus war. Seine Texte sind oft sozialkritisch geprägt, aber durchzogen von seinem bissigen und bisweilen schrulligen Humor.

Available again this first pressing of this reissue is on neon yellow vinyl. Chapter Music presents a vinyl reissue of Australian post-punk icon David Chesworth's mutant punk-funk second album, 1981's Layer On Layer. After his revered 1979 debut 50 Synthesizer Greats (reissued by Chapter in 2017), David swapped the solo home-recorded synths for something very different - infectious, percussive art-funk weirdness. Aged 21, David recorded nights and weekends at the studio in his university's music department, building Layer On Layer from the ground up, using non-instruments like telephone directories, cardboard boxes and car parts. He created an art-damaged sound world, driven by irresistible rhythms but emphasizing chance and experimentation. Robert Goodge, Chesworth's bandmate in the celebrated Essendon Airport, contributes his trademark cyclical guitar, with Tsk Tsk Tsk's Ralph Traviato on sax and other Tsk members Philip Brophy, Jayne Stevenson and Maria Kozic on backing vocals. Layer On Layer was the beginning of David's investigations into rhythm, and remains one of his most striking works. His 70s/80s records and productions have become sought-after collectors' items and DJ holy grails. Chesworth is now a renowned composer sound artist. For digital bonus tracks, David has revisited Layer On Layer tracks to create mutant DJ versions. Also Available From David Chesworth: 50 Synthesizer Greats LP

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.

‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.


Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!


Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Der kanadische Remixer und DJ Tiga ist seit über zwei Jahrzehnten ein fester Bestandteil der internationalen EDM-Szene. Angefangen hat er in seiner Heimatstadt Montreal, wo er neben zahlreichen Raves auch an der Gründung des SONA Clubs beteiligt war. Sein 2006er Album 'Sexor' mit dem Hit 'You Gonna Want Me' wurde schnell zu einem der einflussreichsten Alben der EDM-Szene.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Bei Clydene Jacksons Debüt-LP von 1975 handelt es sich um ein Smooth-Jazz-Album. Ein Titel allerdings sprengte die anspruchsvolle Musiktradition und wurde von britischen DJs der Modern Soul-Szene aufgegriffen. 'I Need Your Love' wurde in GB und schließlich auch in Europa popular. Es folgte ein längst vergriffener 45er Release. Kent ergänzt die Neuauflage mit 'We're In Love' von der LP, auf der B-Seite.

Releasing Italian soundtrack gems on 7" has become a mission for Four Flies! This time the label went back to Franco Prosperi's 1972 film Un uomo dalla pelle dura (known in English as either The Boxer or Ripped-Off) and hand-picked two tracks that were included not in the (now uber-rare) original OST album released on Pegaso/RCA, but in the (even rarer) library album Meedley (sic) released by Carlo Pes a couple of years later, where, needless to say, he was accompanied by his legendary quartet I Marc 4, whose recognizable sound permeates both tunes on this 7".

Side A contains "The Riff", a stupendous acoustic-guitar-and-drums break that was later sampled by DJ-producer Nicola Conte for his debut album Jet Sounds (2000). In contrast, side B veers into fancy poolside cocktail party territory with "Bossa Party", a relaxing, bossa nova-infused jazz tune woven by Carlo Pes' electric guitar lines and Antonello Vannucchi's piano phrasing.

It's a limited edition so don't sleep on it!

We are delighted to finish off the last full EP on the Telomere series with a new Artist you may or may not be familiar with.

Aspetuck, a US based DJ and producer. has his vinyl debut with a well rounded and stacked four tracker.

This EP blends the many genres of electronic music while leaning towards the deeper and melancholic sounds of electronica. Tart Jam, is a real Jam that will get the dance floor movin’, groovin’ and smilin’!
Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

The early days of "Baltimore Club Music" saw it played at popular venues like Club Fantasy, The Ozone, Hammerjack's, and Paradox. DJs Sean Marshall, Marc Henry, Shawn Caesar (at DJs Outlet in Old Towne Mall), Scottie B and Danny Class (at Inner City Records), Technics (at Music Liberated), DJ Patrick (at Sound of Baltimore), and Diamond K and Kenny B (at Electronics & More) all contributed to the mix of hip-hop, house music and homemade beats that made up this new sound. "Booty Mission" (1992) is a creation of Shawn Caesar and Ty "Flex" James and is considered one of the most influential releases, an essential for any Baltimore Club Music fan. It is sure to remain timeless.

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.

‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.


Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!


As one half of Minutes Unlimited, a group formed with fellow electronic producer Michna (Ghostly International), Eliot Lipp displays a talent for creating precise, shiny techno/trap that showcases both artists’ synth and drum machine dexterity.

He also provides the prefix for the appropriately named Lipphead, a collaborative effort with underground hip-hop and downtempo producer Blockhead. Lipphead’s loose and experimental approach to dance music stands in stark contrast to the cold, methodical tone of Minutes Unlimited.

Somewhere in between and slightly off-center of these two sounds is 'Encounters,' Lipp’s forthcoming full length LP. From laid-back downtempo cuts 'Know By Now' and 'The Lowdown' to choppy upbeat hip-hop instrumentals like 'Guitar Maniacs' – Eliot condenses years of growth and influence into this expansive double LP. Comprised of 16 tracks, the sequencing of Encounters pulls from Lipp’s DJing experience, creating a seamless and cohesive listening experience from start to finish.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

2023 Repress

Millennial dream boy Gen-Y and his twisted takes on everything! With his roots in Iran, hailing from Berlin he goes deep in, mixing up styles like Kanye mixes up opinions. On this follow-up Ep to the critically acclaimed Saturn Flow Ep from 2021, he keeps it funky and upbeat! On the opener Dreamboy, he collabs with Estonian singer Maryn E. Coote and takes the dancers on a smooth ride with a touch of 80's proto-house, electronic funk sound and vocals from Maryn's original version. River of Light and Time Of Death are proper flowing electro-funkers while Type 0.7 and Rari Jack ft. DJ Ebhardy are proper jackin Dj favorites! Closer Kirby Step takes the term 'funky acid' to another level. When you make tunes that are this cool there is no need to stick to one style... just enjoy what the universe transmits to the ether and vibe along!

SuperBlue: The Iridescent Spree is the electrifying new album from jazz legends Kurt Elling and Charlie Hunter, following the success of their eponymous Grammy-nominated debut and acclaimed EP Guilty Pleasures featuring Nate Smith. With a vocal range that seamlessly blends jazz, R&B, and funk, Elling is a virtuosic showman and deep collaborator with a comedic edge. Hailed by The Washington Post as the most daring, dynamic, and interesting singer in jazz since the mid-1990s, he and Hunter have pushed the boundaries of jazz and lyrics to create a one-of-a-kind sound that is uniquely their own. Teaming up with hip-hop masterminds Corey Fonville and DJ Harrison (Butcher Brown), Elling and Hunter showcase their virtuosity, showmanship, and musicianship to offer a deluge of roisterous funk, indelible beats, and all-too-current lyrics that will have you grooving like never before. SuperBlue is more than just another jazz album. It's a punch in your face, take no prisoners masterpiece that showcases the sheer talent, passion, and unpredictability of these extraordinary musicians. Get ready to be blown away by the brilliance of Kurt Elling and his collaborators in this groundbreaking project!

The latest project by "El Gusano", a moniker of the elusive Pablo Arrangoiz, aka Dj Fitness, Bauzer Vep, Señor Faxwater, Glue Boy, Goiz and too many more to list (seriously, check out his Bandcamp/discogs). Arrangoiz is a Mexican native based in Miami, known as much for his ever varying aliases as he is for his scrupulous production and sui generis live and DJ sets. Focused on incorporating Latin ritmos with contemporary elements of his other influences such as house, techno, free jazz, German new wave, electro, Miami bass, noise, and more, Arrangoiz’s production, much like the artist himself, is one of a kind.

Saka La Bolsita", the inaugural release on Impacto, the new label and love child of Miami powerhouse producers Nick León and Jonny From Space, is a sonic conglomeration of acid cumbia with slivering jazz chords, microtonal reggaetón constructed with a tuning system made by finding the overtones of air conditioners, demonic dembow with a dash of house, Autotune Festival sex music, and all out pure ratchet core with an El Chavó sample. Including collaborations with lifetime friend Matt Angel AKA "El Descarao".

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

The xx existieren in einem selbstkreierten Kosmos. Ihr Debütalbum "xx" bewegte sich mit wundersamer Vollkommenheit zwischen Vieldeutigkeit und Reduktion. Im Zeitalter der totalen digitalen Öffentlichkeit war "xx" Popmusik mit maximalen Privacy Settings und definierte einen neuen Stil. Nun sind Romy Madley Croft, Oliver Sim und Jamie Smith zurück mit einem neuen Album: "Coexist".Vieles ist zwischenzeitlich passiert, vor allem ist die Band erwachsen geworden. Nach der Veröffentlichung des Debüts im Sommer 2009 verbrachten die drei den größten Teil der folgenden eineinhalb Jahre weit weg von zuhause, um ihren Sound in Ohren und Herzen rund um den Globus zu tragen. Von Amerika über Australien und Japan wurde die Band von Publikum und Kritik gleichermaßen gefeiert, und der Erfolg zeichnete sich auch in steigenden Albumverkäufen und dem Gewinn von Awards wie dem renommierten Mercury Music Prize ab. Während der anschließenden Bandpause wurde dann der stillste der 3 Bandmitglieder, Jamie, zum Gesicht von The xx. Zwischen seinen vielen DJ-Gigs arbeitete er stetig an seinen Fertigkeiten als Produzent und entwickelte dabei einen ganz eigenen Stil. Remixe wie etwa für Adeles Über-Song "Rolling In The Deep" oder die Bearbeitung von Gil Scott-Herons letztem Album machten aus Jamie einen hoch angesehenen Produzenten auch jenseits des Band-Fames. Für Drake produzierte Jamie den Titeltrack seines Millionensellers "Take Care". Für das neue Album arbeiteten dann erstmals alle drei von Anfang an zusammen in ihrem eigenen Studio. Während weiterhin Spuren von R&B im Sound von The xx zu finden sind, ist ein vermehrter Einfluss von elektronischer Musik spürbar. In Romys Loop-artigem Gitarrenspiel und den entsprechenden Basslines spiegelt sich dieser Aspekt. Alles in allem ist "Coexist" ein selbstbewusstes, erwachsenes Album geworden, auf dem sich wenig und doch zugleich vieles geändert ändert. Älter und weiser klingt es, sicherer und immer noch von außerordentlicher, zarter Tiefe. Es ist das Album geworden, auf dem das Licht nach dem Leid zurückkehrt.

“The one-man disco machine and pop superstar in waiting” – NME “a euphoric celebration of nightlife”- GQ “One of the most sought-after music makers in the game” – Notion

Der britische Sänger, Produzent und DJ SG Lewis veröffentlicht am 27.01.23 sein zweites Album „AudioLust & Higher Love“.

Ganz im Stil von SG Lewis überzeugt auch das zweite Album durch seine musikalische Vielseitigkeit und schafft einen gelungenen Spagat zwischen 80’s, Dance und Pop-Sound.

Auf 15 Tracks spannt Samuel Lewis einen Bogen von dem vom Nachtleben und Raves geprägten Sound von AudioLust bis hin zur zeitlosen Pop-Ekstase von HigherLove. Als Features auf dem Album sind u.a. Tove Lo, Lucky Daye, Ty Dolla $ign vertreten.

SG Lewis hat sich in den letzten Jahren als einer der gefragtesten Produzenten etabliert – so kollaborierte er bereits u.a. mit Elton John, Clairo, Khalid, Aluna, Chad Hugo und vielen mehr. Auch schrieb er an Dua Lipas Hit „Hallucinate“ von ihrem Hitalbum „Future Nostalgia“ mit. Sein Debütalbum „times“ (VÖ 2021) wurde von Kritikern und Fans gleichermaßen gefeiert und bescherte ihn die Nr. 1 der britischen Dance-Charts.

„AudioLust & Higher Love“ erscheint auf Doppelvinyl.

BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.

Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.

Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.

Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.

'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.

In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.

The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.

Following the success of their EPs released last year on Scissor and Thread, Frank & Tony return with another outing of deeper than deep house with a three track EP including an expansive collaborative exploration with Comatonse recording artist Will Long.
The title track, Understanding takes a nod to 90s Chicago deep house with a slow rolling groove set against plush pads and euphoric stabs sure to send dancefloors swirling in the earliest of nights and mornings alike. We Begin, a dreamy trip of emotive soundscapes, kicks things up a notch with jazzy undertones but a drive meant for peak times as it unfolds in moods and grooves for ages.
The EP then culminates with a vast rework of the same track in collaboration with Comatonse artist and DJ Sprinkles collaborator, Will Long, pushing the EP to psychedelic lengths as the essence of what we call a house groove reaches new idiosyncratic heights. Essential.

The Faithful Brothers

Soul and R&B from Tel Aviv

"It's so difficult to produce the feel and the excitement of the classic northern sound, but The Faithful Brothers were born to do it and they do it so well." Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio 6 Music.

Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds.

Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Sons of an Israeli diplomat, they travelled abroad extensively as children, in the 1960s and 1970s, discovering the wonderful world of rare soul music on the way. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul, that has recorded two albums for the London based label Acid Jazz Records, and toured Europe numerous times.

Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. There the biological Neeman/Faithful brothers would be joined by some of the members of MONC and a few more musical brothers from Tel Aviv to create new, original soul and R&B music. With a nod to the Northern Soul slogan "Keep The Faith", the name seemed too perfect to waste. The fact that the Neeman brothers were collectors, and not musicians, did not bother a man of vision like Yashiv. One day, he sent Johnnie some lyrics he wrote, asking him to compose music for it. Well, Johnnie called Bin, and they met in Johnnie's record room. With Johnnie playing some of the few chords he knew on his dusty old acoustic guitar, out came Teenage Frost, the first-ever musical composition of the Neeman brothers, recorded by MONC.

It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together. The Faithful Brothers – now an eight-piece band, complete with a mighty brass section – release their first album "The Faithful Brothers".

From the intricate fictional details packed into the cover art (cocreated by Palomo and designer Robert Beatty), to the lyrical collage
of pop culture and political references, to the music’s early-digital
sheen, the album evokes the 80s golden age of rock stars like Bryan
Ferry and Sting leaving their own breakthrough projects to strike out
as jazzy solo musicians. It’s parody, sure - of rock star ego trips, the
mall-ification of America, and our own self-obsession, even on the
brink of apocalypse - but it’s also dead serious, the sound of history
repeating itself as the Doomsday Clock clicks past its Reagan-era
maximum and nuclear anxiety comes back into style along with digital
synthesizers and sax solos. The deeper it pulls you into its own
uncanny reality, the clearer it becomes how thin the borders are
between Alan Palomo’s ‘World of Hassle’ and our own.

Unmissable!

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

Thus we find persuasive, nocturnal and mischievous tracks in perfect nightclub style such as “Amore Tossico”, “Autostop”, “Ultima Notte” and “La Gabbia” side by side with more Dance tracks such as his main hit “Supermacho”, the Dance-Rock “Impulsi Di Sesso” and “Gate One (Aeroplano Telecomandato)” and the Funky “Rocky.”

Federica Grappasonni aka Mistura Pura is an Italian DJ, composer, singer, vinyl collector and music producer. She started to play and produce music at the age of 19 in Bologna, Italy. Before becoming a DJ she wrote and performed her songs live, either as a duo or with a complete band. In the ‘Acid Jazz’ era she was totally immersed in Bossanova, Jazz-funk and Jazzy Hip Hop music. At the time she wrote poetry and songs, singing melodies that burned in her mind. ‘Ed è…’ is one of the first songs she wrote. While ‘Vamo Vive’ is the result of the mix of more songs connected as part of her repertoire, made as a later piece of her musical puzzle.

At the end of the ‘90s and for the following decade Federica became known in the so called ‘lounge scene’ as a selector with Mistura Pura DJ sets in great demand, she gained residencies in the most beautiful and cool places in Milan, the isle of Panarea, Eolian Islands, and Sicily. Coming into the present day she decided to edit and rework some of her repertoire with both songs being revisited while keeping the original voice she recorded at the time and with the support of the pianist and co-arranger Alberto Napolioni and the flautist Carlo Nicita whom worked very well to define the harmonies of the musical works. After 25 years from that period and during the pandemic, Federica repeatedly told herself as a loop ‘go to live Fede’. It was during a walk on the beach that she remembered capturing a frame of a couple of children building a castle in the sand on the Adriatic sea with all the meaning and poetry that this image portrays; a sense of freedom, innocence and truth. In this sense ‘Vamo Vive’ and ‘Ed è…’ is a gentle scream of hope in a time when humanity was closed and living like prisoners in their own houses.

The last time Canadian underground techno tastemaker Rennie Foster had a record on a French label it was the historic F-Communications. Back then Rennie’s penchant for bringing warehouse nostalgia together with hi-tech futurism was a consistent theme and in 2023 this fusion based musical concept is realized further toward the future through a new EP release, Cryptic Layers on Parisian imprint Skylax Records.


The record opens with Let It Go, a simple title for a complex and dreamy piece of lo-fi rave house featuring clattering breaks, ear worm vocals and a drastic bassline driving the whole custom vehicle. Then the similarly, simply titled Just Do It explodes into action with an inspired mix of Detroit inspired dub techno chords, fierce amen breaks and a hip-house energy akin to both current urban style and authentic musical roots. These tracks sound like they could have been released at any time during the past decades but still sound current, or even futuristic. Apparent is craft, design and an understanding of dance music from the perspective of obsession, experience and passion.



The remixes come from absolute legends in the world of techno, representing Rennie’s other home-base territories, the techno cities Detroit and Tokyo. Japanese electronic music icon Ken Ishii provides a storming acid remix of Just Do It with liquid 303 bass, anxious and trip vocal snips, and punchy drums that will sound absolutely ace in a club. Detroit third wave pioneer Sean Deason closes out the record with a crisp dose of hi-tech funk that is sure to be a DJ weapon with it’s hypnotic energy and timeless production style.



The digital only portion of Cryptic Layers begins with a second version from Ken Ishii, this time sans vocals leaving the acid stripped down and bare. Two more original tracks by Rennie Foster are also on offer. Sadlands is an organ laden deep house, synth-wave, contrasting piece of melancholic dream dance while I Say Peace signs off the project in a layered classic house style with early rave stabs and grooving after-hours appeal.

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

The first release on deadbeat Records comes in the shape of an EP by Rnbws. Pressed on ltd edition 140g vinyl. Only 300 records pressed. All profits will go directly to the artist for this release.


DJ Support:

Jay Carder
“Rnbws wake up / don’t say a word - sweet Jesus what belters”

Adam Curtain
“Tracks are sounding wicked btw! Will play the A1 for sure, it's a great EP”

Adam Shelton
“DOPE trax! full support on this BOMB!”

Farsight
"Rnbws release is sounding sick! Been playing 5321 and Spinner"

Adam Antine / Dawn Razor
"Great release mates!"

Oldfield
"Sick release - been playing 54321 out loads"

Toronto-based producer and DJ Ciel is renowned for a style of dancefloor material that’s as heady as it is visceral. The Xi’an-born artist’s ascendant profile has seen her cutting- edge and club-ready EPs released on UK labels Peach Discs and Coastal Haze, as well as Stateside imprints Spectral Sound and Mister Saturday Night.

As a member of the renowned collective Discwoman and the creator of femme-forward party Work in Progress Ciel’s thoughtful narratives are clear, running in parallel to the perception-altering sounds that are consistently woven deeply into her wide-ranging sets, beloved mixes and inventive collaborations. Now the Parallel Minds label co- founder is crystallising her imaginative and omnivorous sound with her !K7 Records debut, ORLANDO.

Written during her emergence from an uncharacteristic bout of writers’ block, the three original tracks of Orlando chart a return to the musical self, spurred along by a cinephile’s embrace of film, a love of classic literature, and a curiosity for the oddest corners of popular culture. “SCENES FROM A MARRIAGE” might share a name with the episodic series, but is rather a nuanced critique of the modern rite of union, moving through structured chapters, and mirroring the un-static nature of longtime love.Inspired by Virginia Woolf’s radical novel, and its superphysical protagonist, “ORLANDO” considers the cult literary figure who lived from the renaissance to the modern age, and embodies both sides of the sex binary.

The thrown sounds and aural illusions of “EL CALIFA” create the effect of a beckoning, beguiling psychedelic experience. To complete the EP, Ali Berger, Ciel’s recent collaborator on the Jacktone Records’ release Damn Skippy! repurposes the mind-bending flourishes of “El Califa” into a noodly and spacious deep house production, replete with pillowy, gauzy pads.

ATA Records are proud to announce this new double A-side from The Sorcerers featuring, on the flip, the first release by The Outer Worlds Jazz Ensemble.

Exit Athens marks the start of a new era for The Sorcerers. Continuing their investigations of Ethio-Jazz and 60s and 70s European library music, the group is now formed around Joost Hendrickx (Kefaya, Shatner's Bassoon, Abstract Orchestra), Richard Ormrod (saxes, flute & keys) and ATA label head, bassist Neil Innes. Exit Athens features a driving funk engine room with exotic percussion, vintage keyboards, and the classic Addis Ababa combination of vibes, flute and horns. The aim is to double-down on previous album successes The Sorcerers and In Search of The Lost City of The Monkey God, expanding their tonal palette whilst tightening their focus, with the intention of producing multiple albums of solid analog cuts, every one of which will appeal equally to DJs and audiophiles alike.

On the AA side, Beg, Borrow, Play marks the debut of The Outer Worlds Jazz Ensemble. The first in an ongoing series of 45s and LP issues, each Outer Worlds release will feature the immaculate grooves of the hard-working, unsung sidemen of the Leeds Funk, Latin and Ethio/Afrobeat scenes. The Outer Worlds series was conceived to feature visiting soloists who have made a beeline to ATA in search of a specific setting for their material, and represents ATA's ambition to encompass the very best in contemporary jazz/club/rare groove/exotica sounds.

Beg, Borrow, Play kicks this off with ATA veteran Chip Wickham on baritone sax, and a slice of jazz exotica that owes as much to New Orleans Street Beat as to the Eastern moods of artists like Yusef Lateef and Ahmed Abdul-Malik. The result is loose and limber, with horns reminiscent of classic Art Ensemble of Chicago, and will appeal to fans of contemporary Afro-Futurist fusions

DJ Robert Smith presents his first ever scratch 12” - ‘Double Jabbed’!!
Previously lacing the portablist and 45 spinning community with 2 instant 7” classics,
‘The Kure’ and ‘The Booster’, ‘Double Jabbed’ is ALL that and then some!


Remixed and remastered, Side A contains all 12 of the skip-proof phrases from ‘The Kure’
plus an additional section with these arranged in ultra-pitch. It concludes with a full
phrase containing all of the samples from sides A and B in regular speed, then in
ultra-pitch. Side B contains all 13 of the skip-proof phrases from ‘The Booster’ then again

a section with these as skip-proof ultra-pitch phrases.



Pressed on premium black vinyl, the full colour picture sleeve is again illustrated by skate
industry legend Mark ‘Fos’ Foster (Heroin, Baker, Toy Machine, Santa Cruz, Element and
more).

Falling Ethics' sublabel Moral Standards presents their first V.A. with a stellar lineup of some of the most relevant names of this era.

P.E.A.R.L. starts off the 4-tracker with a groovy and stripped back tool, whereas Not A Headliner contributes a rather driving track, typical for his sound.

On the B-side Ryan James Ford comes with a heavy thumping track led by staccato synth stabs. To close off the V.A., DJ TOOL has the deepest and most trancy cut with stripped back drums and dreamy synths.