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'Oonops Drops' is the eponymous name of DJ Oonops' monthly broadcast on Brooklyn Radio (NYC). It's not your average radio show without talk and comments for which he invites renowned guests with their exclusive mixes from around the globe to create timeless and thematic episodes. In the last sixty shows he got visited by artists like Morcheeba, Guts, Nickodemus, The Herbaliser, Nostalgia 77, Boca 45, Blundetto, Chinese Man and many more.

Born in 1977 he got in contact with music at an early stage and soon discovered his medium of choice: vinyl. Oonops is a dj, selector, digger and is known for his smooth mixing skills to rock parties in his unmistakable wildstyle of jazz, soul, funk, hip hop, beats, edits, reggae, dub and afro. He shared the stages with acts like Nightmares on Wax, The Beatnuts, Jeru The Damaja, Ebo Taylor, Myron & E, Akua Naru and The Artifacts to name just a few.

As a longtime friend of the label and as a resident of its own club night he now gets his own compilation series to showcase his manifold taste in digging, selecting and mixing. His matter was to create a compilation of manifold genres of undiscovered, previously unreleased and for the first time on vinyl delicacies for any avid and discernable listener and dj. Especially for the vinyl lovers he dug many tracks which are treats for every set from warm-up until peak time. This compilation will stay for a long time in the bags.

Die zweite Runde von Remixen zu dem selbst betitelten Album von Urbs ist eine fesselnde Zusammenstellung von zeitlosen HipHop sowie Downtempo Nummern.

Marc Mac: Gibt es zu dieser Person etwa noch was zu sagen Als Teil des UK Duos 4Hero hat er Musikgeschichte geschrieben und sein Visioneers Projekt setzte neue Standards in Sachen organischem HipHop. Sein Remix zu - Get Wid It featuring Tyna aus Neuseeland, besitzt alles, was man sich von diesem Musikgenie erwartet. Ein souliges, harmonisches Meisterwerk, welches auch auf einem seiner legendären Visioneers Alben hätte veröffentlicht werden können.

Peter Kruder hat als Teil von Kruder & Dorfmeister sowie mit seinem Projekt Peace Orchestra Musikgeschichte geschrieben. Sein Remix zu - Happy Days feat. Bagi und Sarah Ann ist eine Reise zurück zu seinen musikalischen Wurzeln, welche ihn berühmt gemacht haben - eine relaxte Downtempo-Nummer. Der Remix weckt Erinnerungen an die Zeit, als seine Musik Millionen von Menschen berührte.

Patrick Pulsinger ist der dritte im Bunde aus der Riege der Helden der 90s. Gemeinsam mit Sam Irl, seinem derzeitigen Komplizen, zeigen die beiden was herauskommen kann, wenn ein Studio-Zauberer mit Techno Wurzeln auf ein Musikgenie mit HipHop Wurzeln trifft. Ihr Remix zu - Code Of The Snake feat. Blabbwona ist eine trippige HipHop-Tech-Dub Nummer mit viel Bass und als solches absolut einzigartig.

Jstar aus London hat sich bereits einen Namen gemacht als Produzent von unzähligen Remixen und Edits auf seinem eigenem Label Jstar. Seine Spezialität sind Dub und Reggae Remixe von HipHop Classics. Er ist ein Großmeister des Digital Dancehall und transformierte den Golden Era Sound von - Why We feat Ward 21 (aus Kingston Jamaica) in etwas absolut Futuristisches.

Flip: Rapveteran von Texta aus Linz, der zuletzt durch sein Soloalbum auf dem New Yorker Raplabel Ill Adrenaline Records aufgefallen ist, bringt einen Remix zu - Holdin' Back feat Wordsworth. Mit einem genialem Chuck D Sample und einem funky Beat setzt dieser Remix Tanzflächen von Alaska bis Auckland in brannt.

Trishes: Last but not least: Moderator der legendären HipHop Radioshow Tribe Vibes auf FM4 und integraler Bestandteil der Wiener HipHop Szene. Für seinen Remix zu - Concussion feat BluRum13 von Oneself, setzte er auf einen heftigen Groove mit lauten Becken um einen Underwater-Funk-Beat zu kreieren und somit einen neuen Hintergrund für diese echt verrückte Geschichte zu gestalten.

Über das Album 'Urbs':
Ganze elf Jahre sind seit - Toujours Le Meme Film', dem letzten Album von Urbs vergangen. Auf Kruder & Dorfmeisters G-Stone Label lieferte der Wiener Musiker, DJ und Producer damals den Soundtrack zu einem fiktiven Film Noir, zog sich aber nach einer Europa-Tournee fast gänzlich aus der Öffentlichkeit zurück. Er sieht sein Schaffen nicht als Karriere, sondern als Teil seines Lebens, welches in den seltensten Fällen einer konkreten Planung unterliegt, und deshalb hat Urbs sich auch bewusst viel Zeit gelassen für sein aktuelles -unbetiteltes - Album.

Urbs: - Der Vorgänger "Toujours Le Meme Film" kam bei sehr vielen Leuten extrem gut an, und über die Jahre habe ich mitbekommen, daß es manchen Leuten richtig viel bedeutet. Das war eine gewisse Belastung, weil man diese Leute natürlich nicht enttäuschen will. Mittlerweile denke ich, daß genug Wasser die Donau runtergeflossen ist, um vielleicht den einen oder anderen mit etwas ganz Neuem zu überraschen. Die Leute, die mich kennen, wissen ja, daß ich im Grunde immer dopen HipHop produziert habe.'

Konsequenterweise handelt es sich diesmal nicht um ein Instrumental-Album sondern um eine Sammlung von 12 souligen HipHop Nummern, die mit handverlesenen Vokalisten der internationalen Rap-, Dancehall- und Soul-Szene aufwarten. Neben den New Yorkern Wordsworth von EMC sowie R.A. The Rugged Man, finden sich unter anderem Ward 21 aus Kingston, Jamaica, Voice Monet aus New Orleans, Blu Rum 13 von One Self aus Washington DC, als auch alte Weggefährten wie dem Wiener Skero oder dem Wahl-Münchner Blabbwona von Abstract Art auf dem Album.
Auf die Frage, wie es sich anfühlt, nach mehreren Instrumental-LPs erstmals ein Album mit Vokalisten aufzunehmen, erwidert Urbs mit einem Augenzwingern: - Generell war es für mich schwierig die Songs loszulassen und mich den MCs auszuliefern. Man verbringt viel Zeit mit einem Stück und baut eine gewisse Beziehung auf. Die Musik erzeugt Bilder im Kopf und hat oft eine schwer fassbare Bedeutung für den Producer. Dann geht ein MC drüber und es ist ein bisschen als würden die brutalen Freunde deines älteren Bruders dein Kinderzimmer verwüsten- in deiner Anwesenheit.'

Wieso das Album keinen Titel trägt, ist auch schnell beantwortet: - Dieses Album ist nun sozusagen meine Leistungsschau auf diesem Gebiet und durch den unendlich langen Reifeprozess, ist es auch schön intensiv eingekocht und auf dem Punkt. Deshalb auch keine Intros, keine Interludes, kein Titel, no Gimmicks, einfach 12 gute Songs - Punkt.'

Neben dem Album werden auch zwei EPs mit Remixes von Retrogott, Brenk Sinatra, Visoneers (Marc Mac von 4 Hero), Peter Kruder, Cookin' Soul, J*Star, Flip (Texta) und anderen veröffentlicht. Für das Artwork zeichnet DJ DSL verantwortlich.

Chiara Kickdrum is a Torino-born, Melbourne-based DJ, producer and composer. Her unfaltering work ethic has secured her a place above the noise of an over-crowded late-night club scene, with the city she now calls home showing no sign of losing its appetite for the mastery and focus any of her sets readily showcases. Her self-titled 12" is the third release from Melbourne's niche imprint Temporal Cast, demonstrating the raw power and depth her production and live performances in particular are known for. This highly limited, long-overdue physical format release of her own is certain to please those who have been eagerly awaiting it.

James Ramey, better known by his self-depreciating stage name Baby Huey, was a potently flamboyant presence in Chicago's soul scene during the 1960s. Though he suffered weight problems throughout his life due to a glandular disorder, he was easily recognizable for his appearance, which featured an enormous afro, and long, flowing African robes. He and his band The Babysitters were a wildly popular and successful local act across Illinois, cutting numerous 45 singles, without releasing a single full-length album. A chance audition with Donny Hathaway and Curtis Mayfield of Curtom Records would change everything for the band. Though the two of them were pleased with the group, they opted only to sign Baby Huey without the Babysitters. Huey would go on to spend much of

1970 recording a studio debut of psychedelic soul and funk music, comprised largely of covers of tracks by Mayfield, Sam Cooke, and others, plus two original compositions. During this time the now 400-pound singer struggled with addiction to alcohol and heroin. Huey would not see the release of his debut album, dying at the age of 26 from a drug-related heart attack. So many years after its 1971 release, Baby Huey's studio album Baby Huey: The Living Legend went on to become a cult phenomenon, a massive influence to hip-hop artists and fans, and is now considered a classic of its era. Tracks from the album have been a treasure trove of sample material for artists like A Tribe Called Quest, Wu-Tang Clan, DJ Shadow, and The Chemical Brothers to name just a few. Additionally Huey's own vocal style, which dabbled in sing-song melodies and self-referential rhyming, has been said to have influenced the development of rapping itself.

PG TUNE presents CENTRIFUGE ONE - the first label compilation in a series of thematic installments. In the focus this time are Moscow raised producers and live performers, sharing a fresh vision of the globally evolving dancefloor universe.
NEW DANCE SOUND OF MOSCOW features music by Philipp Gorbachev, Obgon, Interchain, DEKA, Dubrovsky and ushi333. Artwork by Artem Stefanov (STFNV).
key selling points:
- D-scription is Philipp Gorbachev's first solo work since 'Unlock The Box' LP (PG TUNE, 2016)
- 2 x 12'' coloured vinyl sleeve includes insert with very special pictures of Moscow
- CENTRIFUGE started with a Moscow rave party in 2016
- All music was recorded live for dancing in new Moscow clubs (ARMA17, Rabitza), streets and DIY garages
- Features artwork by Artem Stefanov, fundamental mural artist, known for his contributions at major music and art festivals (OUTLINE, 4GB, GEM)
- DEKA is a new Moscow supergroup and will release an album in 2018
- Very early DJ support from Barnt, Ivan Smagghe, Anastasia Kristensen, Inga Mauer...

Phantasm is a new vinyl label and collaboration between Amsterdam's Sinchi Collective and the much-admired Night Noise outlet, based in Geneva. It kicks off with a strong EP from The Soviet Union aka Richard Baldwin, including classy remixes from Sinchi themselves and In Flagranti.Baldwin has a signature style that is cinematic and synth heavy and has been formed over the last decade plus. A fine DJ, experienced promoter and self-confessed addict of vintage analogue synthesizers and drum machines, Richard pulls his influences from early electronica, 80s film-scores, and shades of techno right up to the present day. This track was first written on a cold evening in December 2010 using a Roland TR707 and JX8P Synth. After collaborating with his songwriting partner the track was given a haunting vocal and released as 'The Disappearance of Becky Sharp', while the original remained on Baldwin's Soundcloud and got ID requests from all over the world. 7 years later it comes back to life in the form of its original instrumental, with a 2017 rework, plus remixes by Sinchi and In Flagranti.The superb original is a perfectly spaced out and a retro-future bit of synth heavy electronic music. Arpeggiated bass props up rueful chords and icy percussion brings that essential cosmic vibe. It's a timeless track that overflows with emotions and is sure to really make a mark in any DJ set thanks to its rich musicality. The 2017 Rebuild is even more lush and zoned out with sombre chords forcing you to reflect on the deeper meanings of life. In Flagranti—the Codek Records duo based in Switzerland—then lace in some hip swinging claps and make this one a deep disco track that is riddled with little synths, chords and melodies that exude warmth and sci-fi soul. Last of all, Amsterdam's Sinchi cook up a storm with corrugated basslines, long tailed pads and turbulent solar winds that make it that bit darker and moodier. This is a brilliant package of emotive music that is a real statement of intent.

Durban's Rudeboyz (aka Masive Q and Andile T) return to Goon Club Allstars to follow up their self-titled 2015 debut EP with new record, 'Gqomwave'. Widely acknowledged as Gqom originators, alongside Goon Club label mate DJ Lag, Rudeboyz' raw, energetic compositions took the sounds of Durban's townships global back in 2015, opening doors for a whole new generation of South African artists in the pro-cess. They themselves hail from from Mount Moriah, just outside the KwaMashu township in North Durban. The duo's latest record, 'Gqomwave', is comprised of four tracks, each bursting with the intense, driving rhythms and boundless energy their productions have become renowned for. Gqom is again the core around which the whole EP functions, as blazing sirens and charging beats play out on opener 'Major Turn Up', but subtle, stylistic nuances point to a growing maturity in their work. The springy elasticity of 'Bounce Back' and the sharp, stripped back drums on relentless club burner 'No Mercy' each offer different, smouldering takes on the Gqom sound, while final track 'Asjableni' features the gritty, hypnotic vocals of long-time collaborator T_D Snaxx who tragically passed away earlier this year.

Jerome Derradji + Still Music are proud to present Let's Dance Records - Mike Macharello & Duane Thamm Jr. Chicago 1983-85. The origin of house music, at least in a commercial sense, is generally associated with young African American producers from Chicago's South Side, but one of the first Chicago house music labels was started by a young, white, gay DJ from the far west suburbs.
The Let's Dance story will take you back to the beginnings of Mike Macherello and Duane Thamm Jr. when Chicago's house music was in its infancy.
Back then, after starting as young roller disco Dj in the late seventies, Mike Macherello gradually made its way to the best radio station in 1981 - WBMX - and started a movement that still ripples through the city today. Let's Dance's founder, Mike Macharello, was a DJ who bridged diverse music scenes, from rock clubs to discos. The Let's Dance record label helped establish Chicago's dance music industry between 1983 and 1985, before becoming Play House Records (which will be reissued by Still Music in an upcoming set). Macharello's pal, DJ Duane Thamm Jr., also from the 'burbs, became the label's main producer and one of house music's most important studio engineers and producers. Mike and Duane went on to release a few legendary singles for Let's Dance that are still to this day considered to be the earliest House music records coming from Chicago.The 12' pack includes faithful reissues of Selenia's 'Single Girl', Duane Thamm Jr. 'Jump Trax', the insane Knight Action 'R-Trax/D-Rail' 12's along with a 5 tracks 12' compilation and an accompanying poster insert including rare pictures and artifacts with the story of the label.

Excise is thrilled to host San Francisco underground xture Max Gardner on the label's 3rd vinyl release. Max runs the legendary Californian party crew Direct to Earth and he's equally a hypnotic DJ selector and highly skilled synthesist. As you'll see on this release Max's tracks are not only excellent DJ tools but also deeply interesting for close-listening: truly unique electronic music dif culty to pigeonhole into a genre. 'Mona Loops' is an immersive experience on club speakers as an eerie high-pitched synth line twists in unexpected ways over powerful waves of bass.

Next Max remixes label co-owner Muon's track 'KMC' redefining its raw elements into a blitzing four and half minute romp held together by a jagged low-mid frequency lead line. 'Broken Pinkies' is hard to de ne. All we can say is it embodies the feeling of the San Francisco all night underground world more than any single song in recent memory. It begs for repeat listening. Yan Cook joins the Excise family for a banging remix of 'Broken Pinkies'almost shocking in its spin off the original. We're huge fans of Yan over here and this track embodies what we love most about his productions - groovy but with serious bite

Don't wanna move to Southern California / I wasn't really meant for LA...' So sang Dent May once upon a time, now he's eating those words with a side of avocado toast in his new Los Angeles bungalow. What made the lifelong Mississippi boy pull up stakes and head west No one looks at you funny if you wear a tuxedo to the supermarket.' What he means is he moved there to shake up his surroundings, clear his head, and write the most accomplished record of his young career, the magical mystery tour de force Across the Multiverse.

Following the lead of musical-polymaths-with-LA-ties before him like Brian Wilson, Van Dyke Parks, and Harry Nilsson, Dent's style on Across the Multiverse will be familiar to fans of his previous work. Yet there's something more refined about this collection... Stately strings mingle with boogie piano like old friends. Synths weave a celestial backdrop throughout. Every verse, bridge and chorus in its right place, giving it the unmistakable feel of a true songwriting craftsman at work. Lyrically Dent has never been sharper, musing on themes like modern romance ( Picture on a Screen', Face Down in the Gutter of Your Love'), existential dread ( Dream 4 Me', I'm Gonna Live Forever Until I'm Dead'), and the distance to the moon ( Distance to the Moon') as he searches for meaning among the infinite scrolling feeds of our 21st century augmented reality. The title track, a duet with Frankie Cosmos, is a deep space love song about finding love beyond impossible boundaries.

Across the Multiverse was written and recorded in a sunny bedroom in LA's Highland Park neighborhood, with Dent producing and playing nearly every instrument himself. The tracks were selected from dozens of songs written after the LA move, a gold rush of productivity inspired by late nights DJing rare disco funk cuts at local watering holes. It's his first record for new label Carpark and will be released August 18th.

Dent May is a self-described hotel bar lounge singer and aspiring daytime TV talk show host - has been charming his way into the hearts of music fans since the release of his debut album The Good Feeling Music of Dent May & His Magnificent Ukulele on Animal Collective's Paw Tracks label in 2009. The Mississippi-born, Los Angeles-based songwriter, performer, and Dolly Parton enthusiast has since released two more acclaimed records, Do Things (2012) and Warm Blanket (2013), dropped the holiday smash I'll Be Stoned For Christmas', and played hundreds of shows from Shanghai to Chicago. His latest album, Across the Multiverse, is an interstellar voyage of mythic proportions.

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Following on from the critically acclaimed Penya Investigations cassettes and the 12' Acelere EP, Afro-Latin-electronic collective Penya conclude an intensely creative period with a Long Player collection of tracks Super Liminal. 'Liminal' - an in-between state -references the transitional process the four - piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of 'liminality': the threshold of disorientation occurring during ritual practices. Penya's hypnotic groovescapes, led by Jim LeM's bata drumming,ancient chants, sung by Lilli Elina, dubbed-out improvisations on trombone by Viva Msimangand lo-fi electronic production by Magnus P.I create a sound that has garnered significant support on BBC 6 Music via Tom Ravenscroft, Worldwide FM via Gilles Peterson, on BBC Radio 3's Late Junction, as well as being praised by a host of producers including DJ Khalab, Will LV, DJ Jose Marquez and Dengue Dengue Dengue. Penya's energised and engaging live show has also toured across UK festivals this summer, including Brainchild, Wilderness, Farmfest and Big Love.

Our 7th production is about to come! (official release date on 12th of January) Once again in a different kind of music : this time Hip-Hop! Produced by Luke Vibert (Ninja Tune, Warp, Planet µ, Mo Wax, Rephlex...), with all rhymes by BluRum13 (One-Self, Bullfrog) and recorded by Kid Koala & DJ Grandtheft... in 2004! The album was at the time kept aside by Ninja Tune (only digital release) because of similarities with One-Self project (led by Dj Vadim).
13 years later, we are offering this UK Hip-Hop jewel secretly hidden on vinyl!
New tracklisting especially made for vinyl, which comes with exclusive track on bonus colored 7".
Some more good news : this reissue made the two friends work together again for a new collaboration coming out on 2018!

*The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko, a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin's seminal DE9 Transitions album, the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK's Tokyo launch, where she drew the audience into an inspiring frenzy.

Aalko is a culmination of Kiyama's recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.

Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. "Body & Soul" is an erratic rhythm experiment jumping between several beat styles. "Mixture" offers Kiyama's unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is 'B.I.C', a long-awaited exclusive track that ranked among Gilles Peterson's top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.

These tracks give the nod to Kiyama's peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.

Version Galore is a newly found label, deeply rooted in the music culture. We bring you the selected reworks / versions from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else. It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!

K2 is an alias of someone who you should be very familiar with by now, especially if interested in quality house music. No clues He the music legend from Baltimore, one of the most versatile and technically-gifted DJs on the scene, a master of CDJs, who singlehandedly restored public's interest in gospel music with his ultimate dance bomb "Work It Out". Still Hesitant Ok we'll help you - it's the one and only Karizma!

A-side is a pure fire-starter! One of those tunes that works perfectly in any surrounding, location, context, club. Here Karizma flips a version of a certain African-American work song, which catchy refrain just seem to resonate with anyone, while the rough dirty beats with the cheeky start/pause technique destroy the dance floor! Essential party tool!

On B-Side the maestro travels in time to grace us with a retro-futuristic workout on the edge of jazz-fusion / prog-rock & Italo-disco. "In Spite Of" is a peculiar, yet beautiful combination of hypnotic chord progressions, step-sequenced synthetic bass-lines, the virtuoso dialogue of electric guitar and electric violin (yes), spiced up with African percussion and forceful beats, all working together in harmony in accordance with the intricate time signature of the song! That's Karizma at his most Balearic!

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

For more than 30 years music has been the most important thing in my life - this is a clear and true to the heart statement by Soulsurfer, DJ and drummer for the Hanover-based outfit named SUPERSOUL. And yes, SUPERSOUL are a real band. A band in love with analogue instruments and mastering their craft. A rat pack of five groove fanatics accumulating enough years, wisdom and experience to tell truly authentic stories within their songs - songs which are taking the bands audience on a journey into the 60s and 70s sound of Black America. SUPERSOUL are playing Funk 'n' Soul on a hot, steamy, energetic and passionate tip, performing self-written songs with stories told in the bands mothertongue - German ! With Arne Busch as vocalist and band leader SUPERSOUL is built around a true force. His vision and expression of Soul is phrased like the emphasis of a preacherman's gospel whilst fat and funky grooves are masterly crafted and carefully layered by Margot Gontarski and drummer Lars Heindorf a.k.a. Soulsurfer, glazed with wah-wah-heavy licks played by guitar wizard Toni. Their experienced interplay on the latest SUPERSOUL album is polished with loads of analogue engineering magic at Studio Nord Bremen and perfectly complemented by solos and arrangements of Lutz 'Hammond' Krajenski and seven other guest musicians making and appearance on this longplay piece.
It's not big of a surprise that these musicians, all of them rich in experience due to their contributions to other bands and projects, met in Hanover, Germany's secret capital of Funk. But it is quite a surprise that it took that long for an album to appear on the record store circuit that amalgamates German lyrics and urban Funk in a previously unheard manner like SUPERSOUL does.
And for those who come across this longplay piece whilst being on their next dig we go along the lines of the words by the famous man Miles Davis as - We suggest to you to play this record at the highest possible volume in order to appreciate the sound of SUPERSOUL .

"This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu- Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

The UK's best kept secret Chocky returns to Dessous Recordings after the success of his first outing, the well received Self Knowledge EP. Here we see the talented DJ / producer drop four tracks via the Playtime EP - yet more sublime house music for Steve Bug's imprint. 'Double Dip' is a chunky, stripped down vibe, reduced the vitals that will slay dancefloors - firing percussion over a shuffling groove and a cut-up vocal reminiscent of Pepe Bradock. 'Organism' is a deep affair - spacy pads provide the counterbalance to the tough drum track, softening the edges but keeping the vibe high. 'Soul Alive' taps into Chocky's clear appreciation for the 90s, with a strong vocal, atmospheric strings and a loose yet crispy beat. 'Playtime (Dub)' brings the whole EP home with yet another stormer - beginning as a driving basement jam but then introducing an unexpected piano riff that flips the script and takes things in a welcome jazzy direction.

On the Corner's DJ tool and eclectic favourite, Versus is back for a second instalment. There are some familiar faces occupying this tasty wax and some new comers pushing the needle further-out On the Corner.
As 2015's Versus sold-out we'd already acquired some fresh production talents and sent stems over to new and old friends alike.
Get your atlases out as we criss-cross the globe introducing you to artists from afar-afield as Nairobi, Manchester, Pune, Iringa, Detroit, and South London.
We kick off with Jinku, self-proclaimed space monkey hitting OtC wax for the first time. The producer is one-fifth of the East African Wave, a collective of young DJ Producers who are revolutionising the East African arts scene. As a 'sponge' of different influences, Jinku lays down a balearic reworking of fellow Nairobian, Makadem's 'Nyako'.
Of the returning artists none is quite as mysterious as the elusive and incomparable Black Classical - discordant-Ra-like organ meets Brazilian poly-rhythmic percussions bludgeoned with a heady slab of rave breaks make for 'Jeje': already a firm fave of Gilles Peterson.
Boundary pushing Contours brings a new swing to the 'Agama' groove, following the underground smash from Al Dobson Jr back where it all started with the release of Tamar Collocutor's first album in 2014.
Wonky psychedelic perambulations through the Traab al-Beidaan (Sahara) from Sam Jones who adds another construct to his mantle. Group as Salaam have a cassette release forthcoming and this construct comes from field recording sessions conducted during a feast out in the shadow of Africa's largest Windfarm by label head Pete OntheCorner. Vibes!
On the B-side, sprightly producer Daisho from the Indian hotbed of Pune brings a layered percussive heater hanging in the atmosphere with ominous synth b-lines and rightly tipped to be in the realms of and early Four Tet mover.
The release enters into a deeper shamanic dance territory in the final third: the beathead's elixir, M.I.X.G. and their massive xylophone (Embaire) are back and gets a heavy acid rerub as South London's FYI Chris appear OntheCorner wax again with
'Drop the beat'.
Peter Croce, head of Detroit's Rocksteady Disco brings it deep into the early hours for this euphoric 4am fix of OntheCorner's
afro-latin-electronic party experimentalists, Penya.

Soul Jazz Records are releasing this new 10th anniversary 2017 edition of their classic album 'Dancehall - The Rise of Jamaican Dancehall Culture'. This long-out-of-print collection is now available as a triple-vinyl edition and double CD pack.

The album is a lightning-flash collection of all-time classic and definitive dancehall classics as well as a stellar selection of more obscure tracks. Featuring Yellowman, Tenor Saw, Sister Nancy, Ini Kamoze, Chaka Demus & Pliers, Michigan & Smiley, Super Cat, Cutty Ranks, Eek-A-Mouse, Gregory Isaacs and more, this album features non-stop floor-filling party tune rockers throughout!

Dancehall is released to coincide with the new 2017 edition of the stunning 400+ photos deluxe coffee table book 'Dancehall - The Rise of Jamaican Dancehall Culture', featuring Beth Lesser's amazing Dancehall photography (also newly published by Soul Jazz Records). This book has become the definitive cultural reference book for Jamaican dancehall and features hundreds of killer photographs, extensive text and interviews with many of the artists.

'A vibrant anthology of all that mattered: the sound systems, studios, producers, singers and deejays.' The Guardian

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

To progress towards a civilization which does not unconsciously perpetuate or aggravate inequality and poverty, we need to accept our many differences. For those who prefer uniformity or others who would rather avoid proximity, the celebration of diversity might sound ridiculous.
A certain measure of discomfort is required to reach compassion. But peace through diversity is no prophet's fantasy. It is no harder to imagine than the magical fact that we are alive right now.
The eternal act of dancing is one of the most active form of contemplation. Facing our own selves in the mirror of movement, we realize that we indeed are reflections of one another at all times. What will our own actions and thoughts feed around us
With over 30 years of combined dancefloor experience, Possible Futures have been witnesses to the wildest fauna and flora the great nocturnal jungle has to offer.
Sourcing their inspiration from the many shades of color that co-exist between black and white, it is through the open and eclectic selections of inspired and devoted luminaries that Possible Futures have found their manyfold sound: Frankie Knuckles, Larry Heard, Francois K, Carl Craig, Moritz von Oswald, DJ Harvey, Theo Parrish, Chez Damier, Ron Trent, DJ Deep or Moodymann, amongst so many others, have dedicated their lives to the flourishing of diversity on the dancefloor.
While the minds of Possible Futures float in the air with their bodies rotating behind the turntables, their feet are steadily rooted in reality, enabling their musical knowledge to unfold beyond the night. Through their own record label, Possible Futures share their therapeutic musical blends.
The first two cuts come from the grooves of Argentine old hand Leonel, a family friend of long date. 'Antares' and 'Bunda' drag their dusty trails across different genres, to be enjoyed at 45 rotations per minute. Curative properties guaranteed.

Legendary James Brown's protégée Martha High teams up with mighty Japanese Osaka Monaural to pay homage to "JB's Funky Divas" in her new album "Tribute to My Soul Sisters".

Original Funky Diva Martha High has been an integral part of James Brown's life and career for more than 30 years. She was his backing vocalist, hair stylist, payroll master and his always loyal and reliable confidant.

The idea for this project was hatched back in 2014, when Martha was visiting producer DJ Pari, head honcho of the Soulpower organization and manager of soul legends like The Impressions, Lyn Collins and Marva Whitney. While reminiscing about tours with her fellow James Brown veterans, Martha felt that a tribute to the great soul sisters of the JB Revue, better known as "James Brown's Original Funky Divas," was very much needed.

"I looked up to these ladies of soul," says Martha, "Given the opportunity and the pleasure to perform their songs, is my way of saying: thank you, you're not forgotten. To record the music of the Funky Divas, would mean a lot to Mr. Brown. He always wanted the world to know he had powerful women on stage that could hold his crowd while he was off the stage. They were just as powerful and funky as he was."

Without further ado, following DJ Pari's advice, Martha partnered up in Tokyo with one of the hottest names of the new funk renaissance: Japan's Osaka Monaurail. Deeply influenced by the work of James Brown, Bobby Byrd, Curtis Mayfield and with nine albums under their belt, Osaka Monaurail have been leading the international funk scene for more than two decades, appearing at festivals such as Montreal Jazz Festival, North Sea Jazz Festival and Womad's, as well as recording and touring with funk legends like Marva Whitney and Fred Wesley.

This unique collaboration gives new life to 13 soulful pearls, masterfully interpreted as only an Original Funky Diva can do. To name a few: "Think (About It)", made famous by the female preacher Lyn Collins, "Mama's Got a Bag of Her Own", Anna King's answer to Brown's "Papa's Got a Brand New Bag," "This Is My Story", of which Martha recorded the original version with The Jewels, and the soul classic "Answer to Mother Popcorn" by Vicki Anderson.

Born in Victoria, Virginia, and discovered by rock 'n roll pioneer Bo Diddley, Martha started her career with the soulful, legendary doo-wop group The Four Jewels, with whom she scored the national hit "Opportunity" in 1964. Soon, The Jewels caught the attention of James Brown and joined the James Brown Revue in 1966. The Godfather of Soul recorded and released several songs featuring The Jewels until the group disbanded. Nevertheless, Martha stayed with James Brown and continued to work with him as his personal vocalist for 32 years. She was with him at the Boston Garden during the iconic 1968 gig after Martin Luther King's assassination. She was by his side when he performed at renowned "Rumble in The Jungle" event in Zaire. Mr. Brown produced several of Martha's singles on his own People label such as "Georgy Girl", "Try Me" and "Summertime." Meanwhile Martha launched her solo career in 1979 with the self-titled debut LP for Salsoul Records. Since, she has released five albums under her name and, being one of the "hardest working women in show business", she became one of the leading singers of saxophonist Maceo Parker's legendary funky music machine, working with him for 16 years.

Throughout her career Martha has shared stages worldwide with iconic artists like Little Richard, Jerry Lee Lewis, The Temptations, Aretha Franklin, B.B. King, Stevie Wonder, Prince, Michael Jackson and George Clinton. Martha has been carrying the torch of soul music for her whole life, like a true soul sister. Now, with this new effort, she is keeping the music of the Funky Divas going, and we are sure that the Godfather of Soul and her faithful audience would appreciate it.

We welcome back long-time First Word family, Souleance, with 'Bamboule', fresh from their respective cut-ups for our sister label, Excursions, and their recent 'Raw Funk' set, we have a 5-track EP containing something for all the family, crafted with love once again by France's Fulgeance & DJ Soulist. A truly eclectic collection, comprised of afro grooves, tropical vibes, b-boy rhymes, head-nodding shakers and intensely hype floor-fillers. A seriously fun selection.

It kicks off with 'Partay', a mid-tempo slice of bouncy tropical boogie that does exactly what it says on the tin. An effervescent synth-bassline rides on top of a delectable disco shuffle, complete with classic reggae chants.

Title track 'Bamboule' is a seriously energetic afro-funk beast. A truly infectious percussive rhythm track, laced with an immense bassline, vocal chops and synth rides, this one is 100% guaranteed to entice any dancefloor into a trance-like state of bugged-out body moves.

'That Guy' is some uptempo piano-rolling hip hop business, enlisting the help of Brooklyn MC, Von Pea, from the crew Tanya Morgan, who've been making noise on the independent hip hop scene for over a decade, as well as recently collaborating with GUTS.

We dip down to around the 85BPM mark for 'J'aime Marcher', a lounging boom bap bumper with sloppy drums, jazzy rhodes and vivacious horns.

Closing the EP is 'Brown Bags', an almost Dilla-esque cut-up, complete with rolling neck-breaking drums, sweet soul samples and stabs of prog rock. An abundance of variety, we think you'll agree.

For those that don't know, the Parisian duo hooked up just over a decade ago, and haven't stopped to rock & shock parties, clubs and festivals globally since, building a fan-base of solid party people and revered selectors along the way. As always, the wonderful Alice Dufay provides the artwork, making this an essential package for you and yours.

Fountain of Chaos lives in a self-built cabin in the woods. He plays ethnic instruments and electronic devices in various collaborative projects. Fountain Of Chaos isn't very well known outside his land, but his DJ sets in the wild nature are the stuff of local legend. Primitive Megalopolis is jungle and darkness. Amaniyak Kree is wild percussions and guerrilla.
It's an amazing record, check it out.

This instalment follows on from our acclaimed 'Volume One' - Lauren Laverne's 'Compilation Of The Week', supported by the likes of Disclosure, Jeremy Underground, Horsemeat Disco, Hunee and Laurent Garnier. 'Volume Two' picks up where the last one left off — with a touch more soul and disco — records we've been spinning in our DJ sets and on the radio show of the same name, that inspired this series.

We opened a new record shop in the centre of Brighton late in 2016 - 13 years after the mighty London store closed it's door. Now situated on the ground floor of our Gloucester Yard home the shop is open every Saturday to sell records that we love, some of which you'll hear on the radio shows, and on this album.

It's been a resounding success and we've been able to host sunny instore events and Facebook Live broadcasts with guests including Nick The Record, Dimensions Festival family Debora Ipekel, Flamingods, Slugabed, The Physics House Band and Remi Kolawole & Sensible J.

In 2017 and beyond, we will be releasing more of our official reissues including lesser-known essentials from Brazil, such as Gal Costa's 'India', Robson Jorge & Lincoln Olivetti, Burnier & Cartier alongside 1980's Mexican psychedelia from Luis Perez. We've been digging deep, and will share another edition of our 'The Original Sound of...' series, this time across the border from Mali to neighbouring Burkina Faso. As ever, you'll hear these first, on our radio shows.

There will be more 'Mr Bongo Presents' events - we brought Alain Mion & Cortex to the Jazz Cafe in London in 2017 - and we've highly anticipated slots at Bestival and Lost Village festivals, plus a return to RAPPCATS in Los Angeles, more guest shows on Worldwide FM and NTS Radio and, of course, the continuation
of our own radio shows.

Compiled by David 'Mr Bongo' Buttle and Gareth Stephens,
plus a few personal favourites from Gary Johnson, Ville Marttila and Graham Luckhurst.

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

Two years after his last outing on Get Physical, Roland Leesker returns to the label of which he is Managing Director with a brilliant new track that comes with a remix from Cardopusher. Leesker has only put out a select few releases over the last 15 years-both solo and as DJ Carrera and R&R with none other than Ricardo Villalobos-but he has a truly fully formed sound. This tune has been doing serious damage in the clubs for a while now and makes you wonder why Leesker doesn't release more! Entitled 'Thunderstorm' it is seven minutes plus of moody and dramatic tech with heavy synth clouds, whining machines and turbulent drums all whipping up a storm. Manic keys and heavy chords come in and out as fizzing textures all make it a real synapse firing affair that is designed to arrest the attention of huge crowds, and it sure will do that. Venezuelan born Cardopusher has a diverse and experimental sound that takes him from techno to electro to acid to rave to house on labels like Super Rhythm Trax, Zone and BNR. Here he masterfully cooks up another frenzied track with spraying acid, heavy, marching and industrial drums and a real sense of rave energy that will dazzle as much as delight in any set. Finally, Leesker offers up his own 'Dschinn mix' providing even more raw energy. Angry drum rolls, stomping kicks and huge hi hats all piled up and force you onto action. It's a superbly metallic, in your face track to wake up a crowd in the late night hours. With this EP, Get Physical's sensational 2017 keeps on getting better.

(en) Following their much acclaimed surprise debut, VERMONT's sophomore longplayer presented "another set that rewards deep listening" (AllMusic) and "a mix of simplicity and richness" whose result is "a feeling of spaciousness and a thrilling sense of weightlessness" (XLR8R). Stripping away even more percussion than on its predecessor, "II" saw Marcus Worgull and Danilo Plessow zooming in on ambience, texture and sonic cohesiveness, allowing "each electronic voice to come into focus" (Pitchfork). Now, "II REMIXES" puts the beat back into the mix, thanks to iconic artists DIXON, I:CUBE and WASSERMANN who each develop their own irresistible groove out of the immersive source material. As one of the album's most highlighted cuts, DSCHUNA gets the royal treatment by Innervisions head and internationally revered selector DIXON who proves his strong command of the dance floor with a hypnotic ride that surrounds the soaring sounds of the original with tribal- esque vocals. The instrumental version drops the chants, but retains the enchantment, all elegant rhythm and gorgeous strings. Versatile's I:CUBE, legendary producer and DJ in its own right, brings a distinctly Parisian touch to the spectral SKORBUT, whose sci-fi-imbued widescreen aura gets reimagined as laser-gun-wielding space funk machine. Meanwhile, Wolfgang Voigt aka WASSERMANN condenses PARADIGMA's roaming synths into pulsating trance swells on his stomping KRAUTRAMATRIK MIX.
(de) Nach einem hochgelobten überraschungsdebüt präsentierte VERMONTs zweiter Langspieler "ein weiteres Set fürs Tiefenho¨ren" (AllMusic) und "eine Mischung von Einfachheit und Reichtum" deren Ergebnis "ein aufregendes Gefühl von Weitläufigkeit und Schwerelosigkeit" (XLR8R) ist. Auf "II" verzichten Marcus Worgull und Danil Plessow nahezu gänzlich auf Perkussion und konzentrieren sich auf Ambiente, Textur und klanglichen Zusammenhalt, erlauben so "jeder elektronischen Stimme, in den Fokus zu rücken" (Pitchfork). Nun bringen die "II REMIXES" den Beat zurück ins Spiel, dank des Kult-Trios DIXON, I:CUBE und WASSERMANN, von denen jeder einen ganz eigenen Groove im Klangbad des Quellmaterials findet. Als eines der aufsehenerregendsten Stücke des Albums erfährt DSCHUNA fürstliche Behandlung seitens des Innervisions-Chefs und international gefeierten DJs DIXON der den Dancefloor mit einem hypnotischen Trip im Griff hält und die aufsteigenden Flächen des Originals mit tribal-esken Vocals verziert. Die Instrumental- Version lässt die Stammesgesänge weg, behält aber den Zauber, durch und durch eleganter Schub und prachtvolle Streicher. Versatiles I:CUBE, legendärer franzo¨sischer Produzent und DJ von ganz besonderem Format, entwickelt eine ausgeprägt "parisische" Note für das leicht gespenstische SKORBUT, dessen Science-Fiction-getränkte Weitwinkel-Aura als Laserpistolen- schwingende Spacefunk-Maschine neu imaginiert wird. Derweil kondensiert Wolfgang Voigt auf seinem antrittsstarken KRAUTRAMATRIK MIX die umherstreifenden Synthesizer von PARADIGMA zu pulsierenden Trance-Schüben.

180 GRAM AUDIOPHILE VINYL
INCLUDES TWO INNERSLEEVES WITH TRACKLIS-
TING, CREDITS AND PHOTOGRAPH OF KRS-ONE
FEATURING THE CLASSIC HIP HOP TRACKS
SOUND OF DA POLICE' AND P' IS STILL FREE'
ORIGINAL MEMBER OF BOOGIE DOWN
PRODUCTIONS ALONGSIDE DJ SCOTT LA ROCK
LIMITED EDITION OF 1.000 COPIES ON
TRANSPARENT VINYL Return of the Boom Bap is KRS-One's first official solo album, released in 1993. It peaked on the Billboard 200 charts at position 37. According to KRS-One the album has sold over 300,000 copies.Unlike the majority of the Boogie Down Productions LP's, KRS here takes a step back from the production duties and invites rising underground stars DJ Premier, Showbiz and Kid Capri to handle the beats in addition to his four contributions. The track P Is Still Free' appeared on the Menace to Society Original Soundtrack (MOVATM152) labeled as a B.D.P. track. The track Black Cop' was originally released as a 12' single and a track for the CB4 movie soundtrack, thus also labeled as a B.D.P. track.The album was selected as one of The Source's 100 Best Rap Albums. The record was originally rated 4 mics in The Source in 1993.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

After a two year hiatus, Kiani returns to his Far Out Systems alias for this EP, his first offering for a label outside of his own Tanzbar Records.

Thomas Neyens first left his mark on the dance scene under his alias Kiani & His Legion, with two releases on Red D's We Play House Recordings in 2013 and more recently on Something Happening Somewhere, quickly demonstrating his accomplished production flair. This led the Belgian establishing his own imprint, Tanzbar Records, where he dropped two EPs under his Far Out Radio Systems moniker - bringing a more 'dancefloor focused' sound. Now after a two year hiatus, Neyens returns to his Far Out Systems alias for this EP, his first offering for a label outside of Tanzbar Records.

'Spheres' kicks off the release, with its soft bassline perfectly complimenting the hazy synths, syncopated drums and the mesmerising nuances from the hang drum that feature later in the track. The slow burning style continues on 'Jane Goodall', with the track's atmospheric textures gradually overpowered by a steady selection of drums, percussion and off-kilter effects. 'Vaquita' sees Far Out Radio Systems up the tempo whilst still sonically retaining the melancholy, hypnotic sound of the EP, as the snare-led rhythm gradually gains in momentum over its seven minute duration. Closing this excellent four track EP is 'On A Quest', a pulsating number that combines soaring, ethereal synths with a club ready groove that is perfect for the shadowy dancefloors the Belgian DJ/producer performs to.



DJ FEEDBACK

Early support from

Joris Voorn: Great atmospheric EP!
Blawan: really nice stuff here ! really like Vaquita
DJ Deep: nice release
Aera (Innervisions): Vaquita is a real beauty!
Baikal: whole release is dope. big fan of kiani. big up.
Norman Nodge (Berghain): "On A Quest" sounds promising!
Richie Hawtin: downloaded for r hawtin
Ripperton: Great EP every track get something! Thanks!
Âme (Kristian): thanks
Red D (We Play House): Needless to say I have preordered this one on vinyl ;-) 'On A Quest' is gonna be the one for me. It's got that Kiani-going-emotional vibe I dig so much.
Anthony Collins: Jane goodall track is tight !
Nuno Dos Santos: ah sweeet thanx man!
Brothers' Vibe: Solid pieces, def support!

ick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.
This, the second sampler of Black Traxx cuts culled from the various volumes picks up nicely where part 1 left us off. If it's that raw, deep, basement Chicago House sound you're after then these guys have you covered. Kicking off with the 1993 remix of 'Dreamin' which is a sublime late night organ driven groover, this one ticks all the boxes if you dig that NY / NJ Garage sound, but with a Chi-town twist! 'Soul' is up next, lifted from 1993's 'The Soul Package' collection. A stripped back, vocal led jam steeped in atmosphere. This one is for the dancers for sure, no nonsense House music for heads and hips.
Flip it over and the B-side opens with 'Shake', a tough, gritty, percolating banger with a tribal-esque edge. This one's a weapon and almost fits into that Baltimore / Chicago 'ghetto House' mould. A proper club track, no prisoners taken. This one has been gently extended by Rick and Gary for maximum club pressure! EP finisher 'Party' is a much more subdued groove giving a respectful nod to the JB's with that infamous 'Paaaarty' chant. No frills in the best possible way this one's another solid club groove, pure food for hungry turntables and sound-systems. All of the tracks included on these samplers have been carefully selected, arranged, edited and extended for precisely these reasons!
This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

* Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'. It is currently in A 'Dubs from the Dungeons' Phase releasing sought after unreleased music from the 90's from various accomplished artists every month on limited edition gold vinyl.

* PHOENIX - DOM ft TECHNICAL ITCH

A straight dancefloor DJ smashout made from two of the featured artists most seminal tracks combined. Dom & Rolands Thunder and Technical Itch's Reborn. Nuf Said!

*TEARS IN RAIN - DOM & ROLAND

A futuristic roller from the 'Bladerunner' Era. It perfectly captures the mood of the film. A big hitter at the Metalheadz sessions in the 90's this was smashed by Doc Scott and Randall in many of their sets. Again featuring a reworked alternating clean and distorted "flow break" and big 808 bass this style of production pioneered the way for Dom's later work. This turning point in Dom's history is now finally mastered and seeing it's release on vinyl 20 years later.

* DJ PLAY: Randall, Fabio, Bryan G, DJ Die, Jumping Jack Frost, Grooverider, Peshay, Loxy, Andy C, Break, Fierce, Doc Scott, dBridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive, Noisia.

* RADIO PLAY: Radio 1, Radio 1Xtra , NRG, Noisia Radio, Many other radio stations around the world.

* PRESS: Bandcamp Interview, MIxmag, DJ , Various blogs, Facebook, Twitter, Snapchat, Instagram.

Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D(MX) - get lost in their crates. For starters, the album's first single, Run's House' b/w Beats To The Rhyme' is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called turntablism' a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, Mary, Mary,' driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like Walk This Way,' the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. Papa Crazy,' driven in concept and by a sample from the Temptations' Papa Was A Rolling Stone,' followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like Radio Station' they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. Tougher Than Leather' reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And They Call Us Run-DMC' and Soul To Rock And Roll' both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!

Music has always coursed through Roman Lindau's blood. Even if he weren't the accomplished producer and respected DJ he is today, the German audiophile would still be spending all his money on the stuff; giving over all his time to the art form. ''I'm a music junkie. I need music to live'' he states matter-of-factly. ''For me it's the elixir of life.''

Good job, then, that he gets to spend his ..


Roman Lindau is a German techno DJ, artists and producer, as well as being a core member of the infamous Fachwerk Records from Berlin.

Music has always coursed through Roman's veins ever since he was a young boy so it is no suprise that he became the accomplished producer and highly respected DJ that he is today.

In the late 2000´s Lindau became active in the Berlin electronic music scene, beginning to play music in clubs as well as producing his own music. The first track he released in 2008 on his home label Fachwerk Records appeared in one the world famous Berghain Mix Compilations, mixed by Len Faki. Following from this Berghain invited Roman to contribute an exclusive Track for Ben Klock´s Berghain Mix in 2009. After this success the gates opened for him to play regularly as a DJ at Berghain.

At the same time he continued to work on music for Fachwerk Records. He produced dance floor smashers like ´Crasse´ in 2011 and ´Rave on´ in 2014, which were charted by the likes of Ben Klock, Sven Väth & Chris Liebing, afirming his deserved place amongst the techno elite.

More recently in 2015 the well known Victor Calderone from NYC invited Roman to release on his label Matter+.

The reason why Roman is such a great DJ is because of the fact he knows what the people want! ''I love to dance and that's very important: as DJ you need to feel what the crowd want so you can help them to party and have fun.'' Combining a varied selection of raw house and techno in his sets, recent bookings have taken Roman across the world; from the hallowed techno Mecca that is Berghain to dark underground clubs as part of the recent Fachwerk label tour. He has performed at every legendary Berlin venue, past and present from Tresor to Berghain, and it is this that gives Roman the edge above the rest. If you can do it there, you can do it anywhere! From 2014 Till the closing he was a resident DJ at Stattbad, one of Berlins findest adress for Electronic Music.

We are very excited to welcome ROCCO & ESQUIVEL to COSMICA's roster this year.The duo formed by Rodrigo Desentis (México) and Eduardo Esquivel (Uruguay) provide an uptempo gem strictly designed for the dance floor. Esquivel is a well know name in the Latin American electronic music scene, since he started his residency at the mythical club EXTASIS in Montevideo. After 25 years of career and extensively touring through Uruguay, Brasil and Argentina, Eduardo has settled in México city with residencies in the acclaimed BLANCO COLIMA and CASA DISCO.DUBMASTERS was our first choice for a Remix candidate, and we could not be more stoked with the outcome. The spacey pads and reverberating drums of the intro, already announce the departure to a cosmic destination well know by all familiar with their previous releases on our label. The tight bassline provides the classic 'Electro' background for the wanky guitar chops to flourish into a flock of migrating melodies that fly in all directions in the sky above.EDDIE C, the Canadian / Berlin resident 'SLO-MO DISCO MAESTRO', closes the EP and puts the cherry on top, adding a latin feel good climate to the package. The summer vibes can be felt all over this track, with a driving percussive beat and a climaxing vocal breakdown that will have you begging for more PALTA CON CREMA!COSMICA MUSIC is a vinyl only record label from Patagonia, Argentina, and our releases are being supported by seasoned selectors such as DJ Rocca, Daniele Baldelli, LTJ Experience, Ali OOFT!, Salvatore Stallone, John Paynter, DJ Garth, Jeno, Hugh Herrera, Mark E Quark, Eddie C, Tim Sweeney, and Prins Thomas to name a few.

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.