Search:dj lok

Die unnachahmliche Róisín Murphy veröffentlicht ihr mit Spannung erwartetes neues Album, 'Hit Parade' das sie in Zusammenarbeit mit dem Virtuosen der elektronischen Musik DJ Koze produziert hat. Das 13 Tracks umfassende Kompendium aus genreübergreifenden Perlen wird am 8. September 2023 auf Ninja Tune veröffentlicht.

Die warmen Klänge des HipHop, die psychedelischen Elemente und die eleganten, gefühlvollen Grooves sind allesamt Teil der Vision von Murphy und Koze, was zu einem Album führt, das man endlos wiederholen kann, während die Melodien darauf sich im Gehirn festsetzen. Die 13 Tracks, die zu dem mühelosen Glanz des Albums beitragen, wurden in sechsjähriger Arbeit fast vollständig aus der Ferne zusammengebastelt. Fans beider Künstler:innen werden wissen, dass diese inspirierte Zusammenarbeit aus Murphys Beiträgen zu Kozes 'Knock Knock' aus dem Jahr 2018 entstanden ist - insbesondere 'Illumination' und 'Scratch That' - und als Murphy mit Koze an 'Hit Parade' arbeitete, fand sie den gemeinsamen kreativen Prozess auf seine eigene Art und Weise aufschlussreich.
Seit sie in der irischen Stadt Arklow aufwuchs, schien die Musik Murphy fast sofort zu rufen, von dem Moment an, als sie im Alter von 10 Jahren die Kraft ihrer eigenen Stimme entdeckte, indem sie den ewigen Showtune-Klassiker 'Don't Cry For Me, Argentina' bei einem lokalen Poesie-Festival vortrug. Murphy stürzte sich kopfüber in die Musikszene, nachdem ihre Familie nach Manchester umgezogen war, als sie noch ein Teenager war. Nach einem kurzen Flirt mit Noise und Punk in Manchesters Umgebung trampte sie mit 19 Jahren nach Sheffield, um in die Clubszene einzutauchen. Ein zufälliges Zusammentreffen mit dem örtlichen Bassisten Mark Brydon führte die beiden zur Gründung der gefeierten Gruppe Moloko. Seitdem hat Murphy eine beeindruckende Solokarriere hingelegt, die sich über fünf hochgelobte Alben (mit einer Nominierung für den Mercury Music Prize für 'Hairless Toys' in 2015), gefeierte EP- und Single-Kollaborationen und in jüngster Zeit auch über Auszeichnungen für Videoregie und Schauspielerei erstreckt.

Die unnachahmliche Róisín Murphy veröffentlicht ihr mit Spannung erwartetes neues Album, 'Hit Parade' das sie in Zusammenarbeit mit dem Virtuosen der elektronischen Musik DJ Koze produziert hat. Das 13 Tracks umfassende Kompendium aus genreübergreifenden Perlen wird am 8. September 2023 auf Ninja Tune veröffentlicht.

Die warmen Klänge des HipHop, die psychedelischen Elemente und die eleganten, gefühlvollen Grooves sind allesamt Teil der Vision von Murphy und Koze, was zu einem Album führt, das man endlos wiederholen kann, während die Melodien darauf sich im Gehirn festsetzen. Die 13 Tracks, die zu dem mühelosen Glanz des Albums beitragen, wurden in sechsjähriger Arbeit fast vollständig aus der Ferne zusammengebastelt. Fans beider Künstler:innen werden wissen, dass diese inspirierte Zusammenarbeit aus Murphys Beiträgen zu Kozes 'Knock Knock' aus dem Jahr 2018 entstanden ist - insbesondere 'Illumination' und 'Scratch That' - und als Murphy mit Koze an 'Hit Parade' arbeitete, fand sie den gemeinsamen kreativen Prozess auf seine eigene Art und Weise aufschlussreich.
Seit sie in der irischen Stadt Arklow aufwuchs, schien die Musik Murphy fast sofort zu rufen, von dem Moment an, als sie im Alter von 10 Jahren die Kraft ihrer eigenen Stimme entdeckte, indem sie den ewigen Showtune-Klassiker 'Don't Cry For Me, Argentina' bei einem lokalen Poesie-Festival vortrug. Murphy stürzte sich kopfüber in die Musikszene, nachdem ihre Familie nach Manchester umgezogen war, als sie noch ein Teenager war. Nach einem kurzen Flirt mit Noise und Punk in Manchesters Umgebung trampte sie mit 19 Jahren nach Sheffield, um in die Clubszene einzutauchen. Ein zufälliges Zusammentreffen mit dem örtlichen Bassisten Mark Brydon führte die beiden zur Gründung der gefeierten Gruppe Moloko. Seitdem hat Murphy eine beeindruckende Solokarriere hingelegt, die sich über fünf hochgelobte Alben (mit einer Nominierung für den Mercury Music Prize für 'Hairless Toys' in 2015), gefeierte EP- und Single-Kollaborationen und in jüngster Zeit auch über Auszeichnungen für Videoregie und Schauspielerei erstreckt.

Toying with the familiar but not afraid to break with expectations, AVEM presents a versatile range of works that make up his debut album.

Dream State was largely written and produced in times of the pandemic, specifically during lockdown periods — a context that grants the album an air of melancholic isolation. Offering seven songs on a double LP, it marks the collective imprint LOKD’s vinyl premiere. Merging sounds of Electronica, House and Techno, LOKDLP001 finds its place neatly outside of common categories.

In the past years, the Swiss DJ, producer and live act has made a name for himself with a steadily growing catalogue: not only through a handful of EPs, but also by releasing countless singles, remix- es and live recordings. In autumn of 2023, the Basel– based artist now reveals his first studio album.

Instrumentation ranges from studio percussion re- cordings, synthesizer & drum machine classics, all the way to ethereal piano and vocal performances; all performed and recorded by the artist himself.

Familiar structures of House and Techno are introduced, only to be broken again by gleam- ing twists and turns. A focus on percussion is ap- parent throughout the album, be it in the dynamic texture of drum recordings or in the evolving break- beat rhythms of a guiding bass drum.

Dream State tells an ephemeral tale of the uncertain, treading through an unique territory of opposites — from rapid progression to outright hypnosis, from weightless yearning all the way to euphoric catharsis.

PUTAS VAMPIRAS Vol.1 is the debut release of PUTAS VAMPIRAS, a DJ and producer who is an icon of Sao Paulo's queer underground scene.

As the organizer and mother of the infamous VAMPIRE HAUS raves and its community of vampires, her work is a celebration of DIY culture, resistance and an unapologetic commitment to inclusion and the freedom of the Brazilian LGBTQIA+ community.

Over the last decade VAMPIRE HAUS has become much more than a rave, its an aesthetic, a mind-set and a movement that spans across the whole of Latin- America. After almost 10 years, it is finally debuting as a record label.

In this first release, PUTAS VAMPIRAS reimagines post-punk attitudes and the frenzied energy of a rock and roll mosh pit through the lens of the queer Sao Paulo underground. The album's tracks were built to withstand the heat of the VAMPIRE HAUS raves, and to satisfy the legions of dissident ravers, drag monster queens, techno lovers, and "vampiras" from all around the world. She describes her sound as VAMPIRE TECHNO, the perfect soundtrack to a kinkier and queerer alternative reality version of Tony Scott's "The Hunger" movie.

All the tracks on this compilation are anthems at the VAMPIRE HAUS raves and part of PUTAS VAMPIRAS' live performances in recent years, with the track "Puta Vampira Bixa Loka" becoming the soundtrack of LGBTQ freedom and empowerment in Sao Paulo.

Using a hybrid setup of analog drum machines, modular synths and vinyl during her performances, PUTAS VAMPIRAS made thousands of "vampiras" dance like there was no tomorrow.

She has performed on BOILER ROOM and extensively toured across the world, playing amongst many places in the UK, USA, India, Turkey, Ukraine, Chile, and Paraguay and being the first Brazilian to perform a hardware live set on the main floor of Berghain.

PUTAS VAMPIRAS has become a household name and a symbol of LGBTQ+ empowerment, liberation, and resistance and her music will carry the VAMPIRE TECHNO spirit into more corners of the world.

Introducing a new scintillating, transatlantic collaboration from Names You Can Trust and Loboko, a new group created in the fertile ground of modern New York City's melting pot. The band's debut recording features the young Congolese vocalist and guitar virtuoso, Yohni Djungu Sungu, alongside Soukouss-Stars legend and master bassist in his own right, Ngouma Lokito. The group is rounded out by drummer and co-founder Morgan Greenstreet (himself a contributor to NYCT and Combo Lulo's debut recording, amongst others). He, along with Yohni, helped spawn the group's few but raucous NYC live appearances with various members throughout a couple year period before 2020.

Built upon those influential jam sessions, Loboko took two original compositions to the studio in an effort to document some of the traditional Congolese music they have been cooking up. Rooted in a now ubiquitous guitar-driven sound of African soukous that have permeated the greater Caribbean music landscape for up to six decades, Loboko's take on the ethnic Baluba rhythm, mutuashi, adorns the single's A-side as "Kanyunyi." The B-side stand-out "Ekenge" draws from the Seben style. It's a familiar sound to those sound system aficionadas, an intoxicating guitar combination that has reverberated from the heart of the Congo, through a wave in France's popular African music industry, and into the discerning selections of Colombia's Pico culture. Loboko's original take on these rhythms is quite unique in 2023, eschewing any modern production crutches for the raw pedigree of an electrified trio, and ultimately represents a clear window into the group's authentic live performances.

With the programmatic title “Strictly Hits”, Strictly Strictly pushes forward with their first Various Artists EP, a 6 tracker of characteristic Electro Breaks.

Karawai is whipping you into Side A with his sweaty Trance sunriser ‘Cyberythm’ while High Fidelity’s viciously banging ‘Catching the Case’ already leaves nothing but steam when DJ Purpur catches up with his mystical but no less driving ‘Spooky’ rounds out the experience in perfect style.

Flip to Side B and space out with Not Even Noticed’s intoxicated belter ‘Loko’, followed by Strictly’s very own Klex calling for hands up with ‘Blue Figurine’ before Generali Minerali takes you on a mind-bending journey with ‘Reverse Time’ to finish off the trip.

Brace yourself before Strictly Hits.

Padang Moonrise is the story of modern Indonesian music
that emerged underneath the volcanoes of Java and
Sumatra. Java, the most populous island in the archipelago
of over 17,000 islands and 1300 distinct ethnic groups, and
its capital city Jakarta, was where most of the post-colonial
national identity, politics, administration and music production
was centred.
Traditional songs from Java, Sumatra, Bali and beyond were
re-imagined by a small group of state-sponsored musicians
that also composed and arranged new music. These songs
aimed at consolidating a geographically disparate country
with a new language and new ideas of national character.
This compilation brings together a handful of these recordings
that combine elements of regional popular music, Islamic
Gambus, Javanese & Balinese Gamelan and Kroncong, with
jazz, Afro-Latin music & instrumentation, and vocal harmonies
influenced by banned American doo-wop and rock & roll.
The results are a unique blend of styles that have remained
mostly insulated from the world outside of Indonesia until a
recent worldwide resurgence in the interest of recorded music
of all forms has shone a new light on these nearly forgotten
recordings.
27 tracks compiled by Miles Cleret, on double vinyl with bonus
7”, housed in gatefold sleeve with extended liner notes.

This release is a promise from Micron Audio to provide only carefully crafted and curated electronic music from progressive minded artists. Nothing friendly... Period. Galaxian: An intelligent, intricate composition of titanium android parts and artificial intelligence. LOKA: Sidewalk cracking, body moving waveforms, that strongly reflect the title of the track. Ctrls: Like listening to an audio book on neuroscience except you can dance to it and raise your IQ at the same time. 6SISS: This sonic blast gives you fair warning that you're going to travel about 20 years into the future. DJS 313

Der sich über mehr als drei Jahrzehnte erstreckende musikalische Erfolg von Tiken Jah Fakoly ist auf vier Eckpfeilern begründet, deren Fundament für seinen klaren und kompromisslosen Reggae steht und sich ebenso klar und unmissverständlich in den Texten des beliebten afrikanischen Musikers widerspiegelt. Sei es als Verteidiger der Unterdrückten oder als steter Daumen in der Wunde der von ihm benannten Tyrannen. Schon zu Beginn der 90er Jahre, mit seiner ersten Band 'Djélys" in Odienné, einer Stadt im Nordwesten der Elfenbeinküste, fiel Tiken Jah mit seiner tiefen, eindringlichen Stimme auf. Ein großer Erfolg und der erste der starken Eckpfeiler war jedoch sein in Abidjan entstandenes Debut Album unter seinem Namen, 'Mangercratie" (1999). Es erschütterte sowohl die lokale Reggae-Szene, vor allem aber auch die Machthaber, die dekadente Oberschicht, die "alten Fressäcke", wie er sie betitelte, die die Zeichen der Zeit ignorierten und sich an die Macht klammerten. Den zweiten Grundstein legte er in Paris, dem zentralen Nerv Frankreichs, mit seinem dritten Album 'Françafrique" (2002), einem Begriff, der informell für das - wie Tiken Jah in seinen Texten anprangerte - antiquierte politische System Frankreichs und dessen mafiöse Strukturen steht. Im selben Jahr wurde sein Land, die Elfenbeinküste, von einem Bürgerkrieg zerrissen. Seine Landsleute hatten "den Verstand verloren", wie er es schon zuvor in einem seiner Liedtexte prophezeit hatte. Fakoly suchte Unterschlupf in Bamako, ohne sich jedoch wie ein Flüchtling zu fühlen, denn "Africa is united", Afrika ist vereint, wie er schon immer verkündet hatte. In Bamako legte er mit dem treffend benannten 'L"Africain" (seinem fünften Album, 2007) den dritten Eckpfeiler, gefolgt von dem vierten Eckpfeiler, dem großartigen 'African Revolution" (2010), seinem siebten Album, welches das endgültige Fundament bildete: Ein revolutionärer Schrei, ein direkter politischer Aufruf, der sich in den bloßen, schlichten Reggae-Rhythmen entlädt, unangekündigt und dafür umso schöner und machtvoller. Sein elftes und neuestes Album 'Braquage de pouvoir" (Raub der Macht) setzt diesen Weg fort. Das Album trifft den Nerv auf den Punkt, denn es begnügt sich nicht damit, Tiken Jahs musikalische und politische Errungenschaften zusammenzufassen, sondern offenbart in Gänze das Wesen des fakolianischen Stils - ein Adjektiv, das wir zu erfinden wagen, so wie Tiken Jah Fakoly es wagte, diese starken Pfeiler zu erschaffen.

It has been a long time coming as they say and now the second full length album from UK producer 2econd Class Citizen is ready for release. Having spent the past year collaborating with and remixing DJ Food, touring Europe with US artist cars&trains and remixing artists such as Loka and Dday One, 2econd Class Citizen also managed to fit in some studio time and is back with his signature sound on "The Small Minority", his follow-up to 2009's lauded "A World Without".

Repressed !

Die in Berlin lebende peruanische Produzentin Sofia Kourtesis kündigt ihre neue EP „Fresia Magdalena“ an, die am 19. März 2021 über das Ninja Tune-Sublabel Technicolour erscheinen wird.

Nach ihrer bahnbrechenden EP „Sarita Colonia“ - die vom Observer als „One To Watch“ bezeichnet wurde, und auf den „Emerging Artist“-Listen von DJ Mag und Mixmag stand und in den diesjährigen NME 100 auftauchte - verfeinert sie auf der EP weiterhin ihren einzigartigen Sound, indem sie klug ausgewählte Samples und einen fröhlichen Sinn für Persönlichkeit und Lokalität verwendet, um etwas absolut Ansteckendes zu schaffen. Obwohl in all ihren Arbeiten unbestreitbar präsent, ist „Fresia Magdalena“ mehr denn je in Kourtesis Heimat Peru verwurzelt. Auf einer ihrer regelmäßigen, ausgedehnten Reisen nach Hause begann der Entstehungsprozess der EP mit dem Sammeln von Feldaufnahmen rund um die Stadt Lima, in der Kourtesis' Familie derzeit lebt, und speziell in Magdalena, ihrem Stadtteil. Das Ergebnis, das dann zwischen Peru und Berlin entstand, zeigt, dass beide Aspekte ihres Lebens mühelos in ihre Musik einfließen und sich um Themen und eine breite Palette von Stilen weben, die universell bleiben.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years; principally in his collaborations with the former Fela and Femi Kuti keyboardist, Dele Sosimi, and with the pianist and composer Kishon Khan, most recently in his groups Lokkhi Terra and Cubafrobeat. He has also worked with the likes of Afrobeat drum legend Tony Allen, and with the Cuban giants Giraldo Piloto, Julito Padron and Changuito. Thurgur is also a member of the seminal English folk group Bellowhead.

'Many Faces' brings together this musical journey, with Afro-infused grooves and nods towards Cuban Jazz and Dub, with Thurgur's early passion for the likes of Miles Davis, Coltrane, Lee Morgan, Wayne Shorter, Herbie Hancock, et al....

It features both Khan and Sosimi, who have contributed as co-writers as well as bringing their own inimitable sounds on piano, rhodes and hammond organ. Alongside them are some of the leading musicians on the UK's African, Cuban and Jazz scenes, plus collaborations with rising star singers Jade Pybus and Sahra Gure.

Justin Thurgur - trombone (and some additional keys)

Graeme Flowers - trumpet and flugel horn

Simeon May - tenor, baritone and alto sax

James Allsopp - bass clarinet

Jade Pybus - vocals (on 'Woman')

Sahra Gure - vocals (on 'Be A Little Wiser')

Kishon Khan - piano, rhodes and hammond organ (on tracks 1,3,4 and 5)

Dele Sosimi - piano (on tracks 2 and 6) and vocala (on track 6)

Phil Dawson - guitar

Suman Joshi - double bass (except track 5)

Jimmy Martinez - double bass (on track 5)

Tansay Omar - drums (on tracks 1,3 and 4)

Kunle Olofinjana - drums (on tracks 2 and 6)

Yoann Julliard - drums (on track 5)

Afla Sackey - congas and djembe (on tracks 1,2 and 6), shekere and cowbell, and vocals (on track 6)

Oreste 'Sambroso' Noda - congas (on tracks 3 and 5)

Evie Hilyer-Ziegler - violin and viola

Paul Sartin - violin

Track 1 written by J Thurgur and S Gure

Tracks 2 and 6 written by J Thurgur and Dele Sosimi

Track 3 written by J Thurgur

Track 4 written by J Thurgur and J Pybus

Track 5 written by J Thurgur and K Khan

Recorded at Fish Factory by Simone Gallizio and Sean Douglas, at Boneman Studios by Justin Thurgur, at Better Pass Your Own Studios by Phil Dawson, at Thank You Please Studio by Kishon Khan and at 224 Studios by Matteo Musetti.


Mixed at Hi Street Studio by Mauro Caccialanza.

Mastered at Gearbox by Caspar Sutton-Jones.

Artwork by Matthieu Dufour

Photos of by Siobhan Bradshaw, Justin Thurgur, Stephanie Sian Smith,

Chantal Azari, Alex Bonney, Heather Hoyle, Nicole Thurgur, Joanna Mendel, Tansay Omar, Richard Gearey, Faye Hilyer-Ziegler and Svetlana Onye.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

Polish production legends Catz ‘n Dogz journey to Club Sweat to drop a double A-side ready to set the rave-craving animals out of their cage, releasing ‘Rendezvous / Nasty’. The duo have creatively crafted a double A-side oozing floor-to-floor elixir, to skillfully entice underground cavern connoisseurs. As those punters find their way to their dancefloor destination they are met with the aptly named ‘Rendezvous’ a tech-house heater that couples deep stomping kickdrums, with underlying techno textures for an insatiable groove that is augmented by the deep yet sensual melodies of R&B vocalist Raymoane.

The pace is turned up a notch on the flip-side, with stank-face inducing textures apropos for the title of ‘Nasty’, a tune that layers the hypnotic and conspicuous vocals of Kiddy Smile over a bounce-loaded bassline with underlying rhythmic drums and sirens to evoke a bustling party atmosphere.

Radio Support: Danny Howard (BBC Radio1), Ben Malone (Kiss FM), TCTS (Kiss FM)

DJ Support: Riva Starr, Todd Terry, Roger Sanchez, severino panzetta, Pirupa, boys noize, Eli Escobar, Tocadisco, Hifi Sean, Tommie Sunshine, Nhan Solo, Kolombo / Olivier Grégoire, Tough Love, Anna Lunoe, Kryder, Lorenzo Borgatti, Funkerman, Pat Lok, Lucati, Martin Ikin, Cut Snake, GAWP, Utah Saints, Vanilla Ace, Das Kapital, Tommy Trash, Sam Divine, Cassimm, Hector Romero.

techno base.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years, primarily through his collaborations with the Afrobeat maestro Dele Sosimi (former keyboardist for both Fela and Femi Kuti) and with the pianist Kishon Khan. Most recently in Khan's projects Lokkhi Terra and the Afrobeat/Cuban crossover, Cubafrobeat.

Thurgur has worked with Cuban giants Giraldo Piloto, Changuito and Julito Padron, with the Nigerian drum legend Tony Allen and with Damon Albarn's Africa Express project; which included Cheick Tidiane-Seck and Fatoumata Diawara. He's also worked with the likes of Bukky Leo, Francis Fuster, Pandit Dinesh, Baby Akhtar, Inemo, Tony Kofi, Kodjovi Kush, The Soothsayers, The Levellers and The Selecter.

He is perhaps most known as the trombonist from the multi-award winning 'folk' group Bellowhead. Their split in 2016 led to him forming his own band and releasing his debut album as a bandleader, 'No Confusion'.

The album features original compositions written by Thurgur in collaboration with double bassist Max De Wardener, piano/rhodes/Hammond organ player Kishon Khan and guitarist Phil Dawson, with band members including the likes of Graeme Flowers on trumpet, James Allsopp on bass clarinet and Oreste Noda on congas.

Thurgur promoted 'No Confusion' throughout 2016 and 2017, culminating in an enthusiastically received performance at Love Supreme Jazz Festival in 2017. Jazz FM, in particular Chris Philips, gave extensive airplay to the album as well as streaming a live performance from the Jazz FM studios and doing an interview. They subsequently playlisted two of Thurgur's single releases. Lopa Kothari played a track on BBC Radio 3's show 'The World On 3'. The band did a live interview and performance on DJ Ritu's 'A World In London' show on Resonance FM. Beyond this Thurgur has been developing relationships with various other digital radio stations, including Gordon Wedderburn, John Waugh and a number of Global music stations based in Europe.

After his first appearance on the „Plankton“ Compilation (BK014 July 2020) frankfurt based Dan Bay signed his first solo EP on Bunte Kuh. The „Fieser Niesel“ EP will be released on Vinyl and as a digital edition including 2 bonus tracks. Dan is also performing as a DJ or liveact with E-drum - he already released on Laut & Luise, Wayu Records, Leveldva, Finebeatz and Heimlich Musik. The EP also introduces the iconic female DJane Krystyna - the former Robert Johnson resident is giving her debut as a producer.
The first track „Reise ins Universum“ is a dreamy journey thru his universe of minimalistic music - endless, relaxing and trippy. The title track „Fieser Niesel“ is way more rolling with dark basslines and short bleeps - an overall great dancefloor workout. Next is AVEM´s Remix of „Reise ins Universum“ - Boris (who already released on Underyourskin, LOKD and Heimlich) added his unique signature - a fabolous 9 minute adventure full of melodies & deep grooves.
Benjamin Fehr - a berlin based active producer since 15+ years - treated „Fieser Niesel“ and maybe this track is the surprise of the EP - a glitchy & bleepy adventure that follows the roots of good old Robag Wruhme Tracks. „Jimi Nagel“ is the first out of 2 digital only tunes - something for the early after hours while „123“ is more suitable for the real club hours.

Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Lokois also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.

• 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.

Repress!

Just when you think that the well of obscure music from around the world has run dry, Analog Africa returns to put the record straight. Pop-Makossa shines a light on a glorious but largely overlooked period in the story of Cameroonian makossa, when local musicians began to replace funk and highlife influences with the rubbery bass of classic disco and the sparkling synth flourishes and drum machines of electrofunk. The resultant compilation, which apparently took eight years to produce, is packed full of brilliant cuts, from the heavily-electronic jauntiness of Pasteur Lappe's "Sanaga Calypso" and horn-totin' Highlife-disco of Emmaniel Kahe and Jeanette Kemogne's "Ye Medjuie", to the dense, organ-laden wig out that is Clement Djimogne's "Africa".