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Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

New The Hague based recordlabel Otherminds is landing with their first ever release ’Symbolic Language’, from local cosmox.

From day one OTM witnessed his obsession for electronics. Manifested by throwing countless raves, playing otherworldly dj-sets, co-running an atomic studio bunker & label and making mind-bending music. Now it’s time for his solo vinyl debut.

The 5-track EP is a blend between IDM, ambient and techno influenced pieces. A story which symbolizes a deeply shared connection and a transformative period in which the producer expands his palette further into the sonic realm.

2023 Repress

Best Record lights up a surefire classic from the annals of Italian dance music, made courtesy of Italo-Disco heavyweights Klein & MBO, who were not a company looking to get rich, but just 2 individuals: Tony Carrasco (USA), Mario Boncaldo (Italy), in one word... LEGENDARIES! with something burning inside to share. Italy certainly had a huge influence on the nascent Chicago house scene which embraced the best jams of Italo-Disco and created a movement of those simple yet complex sounds like those of "The MBO Theme", beautiful song, smooth and sweet, to give you time to think about some amazing dance moves and bring back very beautiful memories. The song was originally a hit created by the likes of Ron Hardy thanks to his punchy synth bass and captivating European vocals. So this was the first house song ever made and it's from the '80s, loved from the beginning by Derrick L. Carter, one of the pioneers of House Electronica in Chicago and Farley "Jackmaster" Funk, who broadcast on WBMX-FM of Chicago as a member of the DJ team Hot Mix 5. Pure Italo-Disco! Simple analog drum machine (sounds like a TR-606) and analog synthesizer, which in the case of Klein & MBO, is most likely a Sequential Circuits Pro-one. Italo's first purely minimal songs from the early 80s. This sought-after dancefloor gem has been given a faithful remastering touch, as is the Best Record method, which also brought out a previously unreleased edit of the track called "Italian Version", which extends the club qualities of the jam to the maximum impact of the party.

2023 Repress

A fully remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like David Mancuso, Larry Levan and Ron Hardy. This special edition from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries: including the astounding Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

On October 20, 2023, Anetha will release her third tempetuous compilation on her label Mama told ya entitled MTY-AIR «Mille attaques, les vents contrèrent», just one year after MTY-TERRE «Contre tout, toutes et tous, la terre demeure» and two years after MTY-EAU «L’eau repousse les feux agressifs».

Through air element, the compilation comes up with the collaboration of 22 artists with 20 tracks, divided into 4 vinyls: Once again, Anetha carried away with her a generation of electronic artists from around the world to simply blow our mind.

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ON AIR: After twelve successful releases on Mama told ya, Anetha paraglides in our skies with the stormful MTY-AIR, a volatile new compilation: 4 swirling vinyls, 20 aerodynamics tracks, 1 wind blowing perfume.

Entitled «Mille attaques, les vents contrèrent», it will be the third of a series around the four elements. Capricious yet vigorous, air sweeps out everything on its way. Nothing can save you when you’re in the eye of the cyclone: prepare to fly hard. Alongside our windbreaker artists, skydive into the celestial vastness of sound: Gusts of disturbed techno, squalls of groove, mental tornado, minimal bass hurricane, cloudburst of psytrance… Time to get some fresh air.

Piercing pampero, mad mistral, forceful cierzo are blowing, blazing khamsin, steady sirocco, sharp shamal, dank nor’wester are entwining… Techno winds from all around the world are joining the fight against humanity. This is « Endgame » (B2). Final chapter, twisters and typhoons are cleansing the surface of earth, overthrowing everything on their path. Poor soul, don’t try to confront air’s blast as it will « Facelift » (D2) the shit out of you in less than a second. Take shelter as air is untouchable, unpredictable, unstoppable. Or if you’re brave enough, you’ll jump into the sky, looking for the currents to carry you up, sailing whirlwinds, riding airwaves, on the road to the « Temples of Quantum » (H2). Now jump!

The artwork has been once again entrusted to visual artist Karin Kimel, who worked on MTY-EAU’s artwork. She delivers an aerial scenery where supernal wafts are swirling, embalming our air. Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep. And for the second time, with a direct message from earth to Earth, we opted for recycled vinyls.

A lavish four chapter chronicle that imagines an alternative evolution of mankind through sound, VIS (Latin for energy or force) is the result of a lengthy process of self-discovery, collaboration and research for Italian-German composer David August. The son of a classical pianist, August slipped from the academic music world into an early career as a dance music producer and DJ before he felt his artistic outlook shifting considerably. He established the adventurous 99CHANTS label in 2018, and has since used it as an output for his most progressive notions, collaborating most recently with jazz-noise vocalist Cansu Tanrikulu and Carnatic singer Sushma Soma on last year"s acclaimed "Imaginary Landscapes" compilation. VIS then is a chance for August to reconcile his personal narrative, leveling it with concepts that touch on history, transformation and metaphysics. He wrote the album"s 13 pieces to play like a linear storyline, tracking the development of culture from its illusory beginnings in Plato"s cave into the wider world and observing its progression and adaptation.

August represents these themes with levitational orchestral drones, choirs and bells that slowly bend to long-forgotten ancestral rhythms, inevitably colliding with the digitized chaos of the information age. Motion guides everything, whether it"s shadows on a wall projected by dancing flames, or dramatic, overlayed rhythms that vibrate the air and excite the feet. VIS is a dynamic attempt to show the movement of time on a macro scale, looking backwards in order to move forwards. It charts mankind"s journey from its cosmic beginnings through the awe-inspiring world of flora and fauna, grounding the experience in rhythmic expression and dance before we"re returned to the stars in transcended form. Crucially, it"s a hopeful articulation of ideas and concepts that continue to echo throughout history, inviting us to imagine greater and cherish the teeming landscape that surrounds us.

Budabeats Records turned 15 this year, to celebrate the occasion label bosses Dj Gandharva and Von Yodi hand picked 14 songs from artists belonging to the extended Budabeats family. If you are familiar with the the label you may alraedy know that they really do not care about genre limits, and as you would expect, Waves of Budabeats is a prime example of this attitude. The double LP includes mellow but tight dowmtempo tunes by WaTa and Kobza Vajk (remixed by BéTé), midtempo weirdness by Mytron, mature hip-hop by Son of Sam, vintage Japanese pop sounds by Erik Sumo and the Fox Fairies, dreamy and straighter dancefloor material by Oneeyedman, M.W.D and the Chillum Trio, weird electronics by Kovacs The Hun, and, of course, the obligatory jazz and funk delivered by Dokkerman and The Turkeying Fellaz and The Premecz Organ Trio. The vinyl compilation is limited to 300 copies, most of the songs have not been released before on any format, but all of them are pressed on vinyl for the first time.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.

Jazz Hands is Bob James' third outing for evosound, following in the
wake of 2018's Espresso and 2022's Feel Like Makin' LIVE
Produced by the pianist with his manager Sonny Abelardo, the ten- track album
was mostly recorded during the months of the Covid pandemic and featured
James in a number of different musical settings. It also features a stellar cameo
from the ex- Gnarls Barkley singer CeeLo Green on the sensuous title track and
includes production input from the legendary hip- hop turntablist DJ Jazzy Jeff,
who rose to fame as half of the hit-making '80s/'90s rap duo, DJ Jazzy Jeff & the
Fresh Prince, early samplers of James' music. Blending cool jazz tropes with
funky dance floor grooves, blues- tinged ballads, cinematic mood pieces, and
sensuous slow jams, Jazz Hands is the Missouri pianist's most eclectic album of
his long career. Simultaneously classic and contemporary, it's Bob James at his
majestic, ground-breaking, and timeless best.
The album will be available on 180g Solid Blue vinyl, black vinyl LP, SACD- Hybrid
Stereo and MQA-CD on the 15th September 2023.

Jazz Hands is Bob James' third outing for evosound, following in the
wake of 2018's Espresso and 2022's Feel Like Makin' LIVE
Produced by the pianist with his manager Sonny Abelardo, the ten- track album
was mostly recorded during the months of the Covid pandemic and featured
James in a number of different musical settings. It also features a stellar cameo
from the ex- Gnarls Barkley singer CeeLo Green on the sensuous title track and
includes production input from the legendary hip- hop turntablist DJ Jazzy Jeff,
who rose to fame as half of the hit-making '80s/'90s rap duo, DJ Jazzy Jeff & the
Fresh Prince, early samplers of James' music. Blending cool jazz tropes with
funky dance floor grooves, blues- tinged ballads, cinematic mood pieces, and
sensuous slow jams, Jazz Hands is the Missouri pianist's most eclectic album of
his long career. Simultaneously classic and contemporary, it's Bob James at his
majestic, ground-breaking, and timeless best.
The album will be available on 180g Solid Blue vinyl, black vinyl LP, SACD- Hybrid
Stereo and MQA-CD on the 15th September 2023.

Return of the B-Boy

Listening back to the “I Phantom” album as a whole re-connects me to the fact that “Return of the B-Boy” really was designed to be the crown jewel of the album. I wanted to create a song that was a feat in storytelling and in verbal dexterity. The slower tempo of Part 1 of the song gave me a chance to paint a clear view of the scenario in which the protagonist is brought back to life by music to save culture of a genre. The relentless tempo of Part 2 was one of the largest challenges I had faced as an MC at that point in my career but I did not want to earn style points at the cost of clear storytelling.

I remember that night so clearly; being in El-P‘s basement studio with the album due the next day and “Return of the B-Boy pt 2” being the only part of the album that wasn’t finished. In sports what happened that night would probably be the equivalent of somebody hitting a half court shot at the buzzer to win a championship. We were all there; myself, El-P, DJ Abilities, & Nasa (El-P’s studio engineer). We all knew the song had to be completed before sunrise, we all knew the importance of the song, and we all knew we had to do our best work. This was the scene; El-P searching for the perfect drum break, Nasa mixing everything on the fly as it was recorded, DJ Abilities searching for the perfect cuts to accentuate the song, and me making sure that every single line of my verse was exactly what I wanted it to be.

I’m glad I at least remember these elements of the process clearly because the rest of it really is a blur. I’m just glad that we managed to finish the song on time & get it out into the world. I truly am honored that our efforts back then led to the creation of a piece of music that is still resonating with people today.

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.

Debut album by Sunbörn (formerly The KutiMangoes!)

On their first album as Sunbörn, the Danish 6-piece digs into what connects us as human beings: we are all born under the same sun and are connected by the same forces of nature. Meeting the world and connecting through music has been a vital mission for our band from day one, and again and again on our travels we have experienced how music can cross borders, build bridges and connect us with people from different backgrounds and cultures in shared experiences. In times when the world is tearing itself apart it is clear that music has the power to reach across divides and remind us of our common humanity. Sunbörn's self-titled ablum features collaborations with artists from all over the world: Caio Marcio (BR), Ida Nielsen/Bassida (DK), BIGYUKI (JP/US), DJ Opolopo (S), Clap! Clap! (I) & Moderator (G).

Quality Gatefold-LP pressed on yellow vinyl!

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!


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!

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music".

These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments.

Be on the lookout for "Anthology 1996 double album next year!

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!


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.

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.

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".

DJ Python’s Worldwide Unlimited return with a trio of giddy-up garage screwballs by BFTT of the Mutualism cohort.

’THP’ hails BFTT’s transition from one party city, Leeds, to another, Manchester, in the post-lockdown euphoria when everyone was dusting off their dancing clogs. He hadn’t made club music during the pandemic, but got right back on it that summer, chiselling signature production details into a trio of restive swingers and buoyant steppers explicitly built for the party.

‘THP’ trains his energies into an itchy switch of Yorkshire garage-techno-donk aerated with feathered dub chords and percolated percussion. ‘Keeplies’ more loosely dances on the offbeat complete with unstable, grinding subs whisked into a dipping UKG lather like Pangaea meets early Aya, and ‘Seems’ picks up your trotters on a ruggedly warped speed garage tilt, all melting Moschino logos and acid-spiked fizz bound for peak times.

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.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE NOW LEGENDARY SPACE DREAM SESSIONS!

In around 2001, Joel Ricci, the trumpet player/composer behind his former stage alias, Lucky Brown, went traveling on a worldwide "quest for funk". During that pilgrimage, he went to London England in time to attend Keb Darge's 'Legendary Deep Funk' 6-year anniversary at Madame Jojo's. While in the middle of the dancefloor, he was moved so significantly by this obscure brand of 'deep funk' Mr. Darge was unveiling, he became overcome by a mystical sense of 'coming home'. Additionally, he spent a week at Camden's Jazz Cafe to meet The Poets of Rhythm, The Breakestra, The Sugarman Three, DJ Snowboy, DJ James Trouble, and others. When Joel mentioned the nature of his quest to Neal Sugarman, he warmly invited him to come visit Brooklyn and kick it with members of Antibalas, Binky Griptite & The Mellomatics, and the Dap Kings. But before the trip back to the states, Joel spent some time in Paris playing his trumpet at a club called 'Cithea' where they would host weekly 'rare groove' jam sessions. During the jams, Parisian students of Tony Allen would overtake the stage with their instruments and their full African clothing, chant the word, 'Fela', and begin to play this intense free improvised funk and afrobeat. While traveling by train from Paris to the south of France to visit family, Joel began hearing this inspiring polyrhythm swirling in his inner ear and mixing with the "clack-clacka" of the train moving down the track. As soon as he arrived at his destination, he sat down at a piano and jotted down the polyrhythm, bass line and fundamental horn cluster on a piece of sheet music paper. The simple tune was finally rendered to tape ten years later with Lucky Brown's Crawdad Farmers aka The Funk Revolution on the Magik Carpet at drummer Olli Klomp's Lakeside log cabin in Stanwood, Washington. The tune became the title track to Lucky's first full-length on Tramp Records (Lucky Brown's Space Dream, TRLP-9011).

Space Dream is so titled in part to commemorate a soulfunk masquerade party Joel threw at a temporary all-ages Bellingham Washington music venue called 'The Pickford Dream Space'. This is Joel's stripped-down tape-only remix and re-edit which has never before appeared on 45RPM and commemorates the re-release, remaster and repackaging of upcoming Tramp LPs, "Space Dream" and "Don't Go Away", the fully realised 'director's cut' featuring Ricci's early group funk experiment: "The Funk Revolution."

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

Following the success of Hiroshi Sato's reissue, Wewantsounds is proud to announce an ambitious programme to release Akiko Yano's albums outside of Japan starting with her 1981 synth-pop masterpiece 'Tadaima.', co-produced by Ryuichi Sakamoto and featuring YMO. The reissue includes original artwork by cult illustrator King Terry, a 2 page insert and OBI Strip (LP) plus a new introduction by renowned Electro DJ Joakim. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the 70s Japanese music scene along with HaruomiHosono, Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album "Japanese Girl" with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing Funk, Electro and City Pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. "Tadaima." ("I'm home" in Japanese) recorded in 1981 is Yano's fith studio album co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from YMO (HaruomiHosono, Yukihiro Takahashi and Sakamoto), the group she was touring with at the time. "Tadaima." is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early 80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima" "I Sing", "HarusakiKobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by Children. Contributors on Tadaima also include ShigesatoItoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator TeruhikoYumura - aka King Terry - who revolutionised underground manga in the 70s with his 'heta-uma' (bad-good) style, as showcased on the album's striking artwork. 'Tadaima.' is the perfect entry point to Akiko Yano's unique body or work.


The reissue comes with the original obi strip artwork, extensive liner notes and a new introduction from Joakim

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.

Rare Jazz-Funk album from 1978 by Headhunters founder.
Featuring an all-star line-up including Herbie Hancock.
Originally released in 1978 on Tobisha EMI Japan.
First vinyl reissue outside of Japan released in collab w/Totown Records. Comes with double side insert.

Paul Jackson (born in Oakland, California in 1947) needs little introduction. Paul began playing bass at the age of nine and was considered by many of his teachers to be a musical prodigy. Jackson was known as a “Musician’s Musician” and shaped a sound that launched a new direction in contemporary music: the so-called ‘Pulse Playing’, a trademark sound of close-meshed funk grooves combined with sensational rhythms. With this innovative approach, he influenced entire generations of jazz and funk musicians to come. Paul’s compositions were sampled by big acts from the likes of Prince, TLC, Mobb Deep and NWA…just to name a few.

Paul Jackson was a founding member of the Headhunters under Herbie Hancock (THE group responsible for their ground-breaking fusion and jazz-funk compositions that took the world by storm in the 70’s). The solid union between Hancock and Jackson has been especially evident in the many international tours they have made together…not to mention that he participated on most of the Headhunters albums and Herbie’s solo albums.

Paul has also worked as a producer and as a studio/live musician alongside acts such as Santana, Sonny Rollins and The Pointer Sisters. He was a frequent guest performer at renowned international festivals such as the Montreux and Newport events. Jackson’s composing has not gone without recognition and was nominated for Grammy Awards in 1974, 1975 and 1976. Like other highly talented, creatively motivated engineers of music, Paul has expanded his career to other mediums such as playing on blockbuster movie soundtracks such as “Death wish” and “Dirty Harry”.

Paul Jackson also wrote five solo albums worth listening to – including the monster of an album that is known as “Black Octopus” which is considered to be a kind of lost Headhunters album.

His debut album “Black Octopus” saw the light of day in 1978 and is a total piece of art filled with abstract sticky funky grooves, floating electric piano playing, strong thumping bass lines, raw heavy drums and amazing vocal acrobatics (Jackson himself takes vocals in 3 out of 5 songs, and his soulful singing voice strikes an emotional chord that does not go unnoticed).

On “Black Octopus” you’ll also find some of the best all-star musicians from the likes of Alphonse Mouzon (Roy Ayers, Betty Davis, Azar Lawrence)…and last but not least fellow Headhunters Bennie Maupin and Herbie Hancock himself.

With “Black Octopus” Paul Jackson wrote the book on how a jazz-funk-fusion album should sound like. The fact that the album was only distributed in Japan at the time (Jackson resided in Tokyo since the late 70’s, where he passed away in 2021) continues to increase its reputation as an album that is VERY hard to find. This is a must-have gem…not only for fans of jazz, funk and rare grooves, but also for DJs and collectors around the globe.

Repress!

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.

The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day… until now.

Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.

“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.

Brian Jackson: “I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen – with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well… here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.


The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

Syko & DJ Mik-Sir return with a collection of previously unheard tracks with their DNA firmly rooted in the early 90s. Digging through DATs of unfinished and forgotten tracks we came across a handful of half completed tracks originally crafted using an Amiga, an Akai sampler and a Vintage Keys sound module. The Blueskinbadger music archaeologists have meticulously unpicked and pieced each track together making sure we applied the original methodology and thinking behind these tracks and their origins. We’ve taken our time in tidying up and finishing these tracks, completing their 29 year journey from the studio to the turntable. ‘Reboot’, 'Dissemination' & 'Stand the Test' have all been Re-engineered and Re-mastered from those original DATs. An original remix of Boom by Syko completes this collection...

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.