Buscar:dr rhythm

After a very short break Daje Funk are back with a super fresh redesign. The label is also fully embracing the move from their previous 10” format to 12” with the obvious bonus that they are now able to cram just that little bit of extra music onto their releases.

Their latest release, the Slam Dunk EP, is their 9th since the label arrived and it’s been a memorable journey so far. Keeping things decidedly funk with a modern dancefloor twist for their latest instalment they have assembled and all-star cast of producers with Dutch edits wizard, Ronny Hammond, England’s Shit Hot Soundsystem and Uptown Funk and Italian producer Coldbeard all taking turns to vie for dancefloor gold.

Together they have turned in one mighty slab of black wax.

The EP opens with Ronny Hammond’s ‘Keep On Groovin’ and it’s a very serious club track. For those of you with long memories and deep collections the original used here was sampled for Screen II’s Hey Mr DJ, a 90’s house classic on Cleveland City and it feels just as essential right now in 2021 as it did in both the 70’s when the original arrived and in the 90’s. Keep On Groovin’ is a proper funk bomb and Ronny has taken it to town with the addition of a powerhouse bassline, ass shakin’ drums and cheeky ear worm vocal samples. Indeed there is no chance that you will be able to sit still when this one drops. Expect it to cause serious dancefloor mischief over the coming summer months.

Shit Hot Soundsystem is up next with ‘Woah’ with label co-boss De Gama adding some extra scalpel action. Another track with classic subject matter, this often sampled track has rarely sounded as good as on this monstrous funky outing. It still sounds as fresh and exciting as the first time you heard those vibrant and vital synths and beautifully layered vocals. ‘Woah’ is both immediate and essential and will be soundtracking parties for years to come.

Over on the flip Uptown Funk’s ‘South Side Boogie’ also has De Gama on edit duty and here things head off downtown 70’s funk style. Brass stabs, wah guitar, and spicy synth licks all combine for a track which has plenty of joyous zest as it combines disco edges with a funk packed groove combing to deliver serious club heat.

Seeing the EP out is Coldbeard and he takes up deeper still with a bubbling groove which captivates from the first notes of the dynamo synth bass before adding in electric guitar licks and a rhythm line to die for. A Funky Situation is a perfect example of how to build a track piece by piece until it becomes utterly essential. Once you have heard that Rhodes and the vocal stabs working together you just know that this one will need to be played religiously.

Four utterly essential tracks which perfectly bridge the gap from the 70’s to 2021. Nine releases deep Daje Funk delivers yet again on its mission to make funk as utterly essential in clubs again nearly 4 decades after it’s glorious genres beginnings.

Amphia welcomes Ferro, making his debut with a
four-tracker EP titled “The Unforced”.
“I Said” starts off with a mysterious vocal sample
complemented by a gliding bass line and abstract
percussion that drives the audience to create their
own narrative. A change of direction and a deeper
exploration of a darker dimension are brought on by
“Post Apocalyptic”, characterized by a slightly more
mechanical, nuanced rhythm. “Unforced” with its laidback mood and stripped down groove keeps your
attention focused, the percussion arrangement
working in unison with the glitched textures to create
a distinctive character. Concluding on a high note,
“The Contrary” keeps a steady flow through its lowend bassline, enigmatic synth line and vocal cuts.

Razor-N-Tape Reserve presents a very special new package of remixes of the band BaianaSystem, bringing together one of Brazil’s most exciting contemporary sounds with modern dancefloor-minded production.

The standout track of their 2018 LP 'O Futura Não Demora', Água is a lyrical poem to the people of their native Bahia, featuring the legendary Antonio Carlos & Jocafi, with orchestral melodies, an incendiary vocal chant, and traditional organic Brazilian rhythmic approach.

On the A side, Freerange boss Jimpster delivers two exceptional takes on the song, augmenting percussion and adding synth layers to create deep and hypnotic tribal house textures within a sublime sonic soundscape.

On the flip side Brazilian producer Diogo Strausz joins forces with RNT boss JKriv to highlight the symphonic and melodic elements with their vocal mix, and then go into dark and driving percussive electronic territory on their fiery dub. With stunning visual art realized by Costa Rican designer The Myno, this package is as essential and smooth as water!

DC Salas’s second EP indeed is a tale of beautiful feelings: After his last year’s debut EP on Live At Robert Johnson called The Complicated Art of Dreaming, this fresh four tracker is a proof to his creative continuity.

A1 Did They Listen rhythmic structure banks on a pounding and effective combination of bassdrum, conga and cowbell, joined by a mildly distorted bass line figure, which embeds itself in a panoramic soundscape. A2 Beautiful Feelings introduces a remarkable striking sawtooth sequence, with repeated filtered and resonating variations, alternating throughout the track. On the flipside, B1 Within employs yet another bubbly bassline, keeping the soundscape wide-open to retain enough sonic space for that eerie, yet highly energetic Cosmic Disco touch. B2 Liquid Perception signature is a liquid acid bassline introduced in the second part of the track, perfectly befitting its track title. All tracks of this monolithic EP, thanks to its consistent approach to sound design, could easily be mixed subsequently with each others.

DC Salas is thirtysomething year old Diego Cortez Salas, a skilled talent with peruvian origins hailing from Brussels. A regular DJ at C12 and Kiosk Radio both in Brussels, Diego also co-runs Biologic Records with his mate Abstraxion since 2014.

When the first Placid Angels album dropped in 1997, John Beltran was already an established force within dance music’s then-emerging scene. He had a knack for both the melodic side as well as intricately designed rhythmic programming. A signature style that went for his early records in the 1990s as much as it does for this new installment of the Placid Angles series. The blissful synths, Aphex Twin-era IDM and loose percussive patterns take you right back to where it all began when genres didn’t mean anything and Beltran was just starting out to experiment with any sound that would elevate your consciousness. The Michigan-born artist since has spanned a career of nearly four decades, remaining relevant all the while, by playing the music he found himself most drawn to express. By working with artists like Detroit veteran Carl Craig, labels such as R&S or more recently his LPs for Delsin or his joint work with Four Tet. Whether it be his more Techno-leaning or New Wave-inspired works, his takes on Ambient, or the more Latin-influenced productions - he has always stayed active and re-invented himself while painting his records with a clearly own palette that is full of beautiful melodies and a timeless sound-design. The album Touch The Earth itself comes as diverse as the artist’s own legacy, ranging from skittish, colorful UKG to proper pulsing sub-basslines as it progresses deeper into intelligent drum programming and further into the melodic ventures of what’s at the core of Beltran’s work.

After several years of silence, Schema Records co-founder Luciano Cantone in collaboration with Gianluca Petrella and a new group of musicians, present The Invisible Session's second album "Echoes of Africa" on the newborn Space Echo label. This new chapter is borne out of afrobeat, Africa 70's records and Tony Allen's drumming; furthermore, other influences come into play, with melodiescentred on Eastern pentatonic scales, as well as funk, afrobeat, psychedelia, modal and Ethio jazz, plus forays into pop and cinematica. Ancestral melodies intersect and weave, encouraging escape and deeper feelings. Conceptually, "Echoes of Africa" deals with pacifism, human rights, anti-racism, nature and ecological themes. This is an album to be absorbed in its entirety – have a good listening!

Electronic four-piece Big Yawn invites five revered artists to reconstruct their debut album No!, originally released in March 2020 through Research Records.

The remixes convey a unique combination of darker textures and brooding sounds, clearly indebted to their source material.

The release features interpretations from Sleep D, Jay Glass Dubs, Maria Moles, Bullant and Raymond Scottwalker.

Rhythm merchants Sleep D (Butter Sessions) up the tempo and weave their signature expansive production in their fearless take on 'Reflex'.

Prolific producer Jay Glass Dubs (Bokeh Versions) flavours the 'Body Double' refix with looping clattering drums and glitchy murk, creating a compelling arrangement.

Like a drift into a warm gorge, percussionist Maria Moles (Nice Music) inserts gentle sustained synth work into 'Doodle Damage'.

Bullant (Flightless Records) pulls the listener out abruptly with a rework of 'Skinrat', a house-streaked churner.

Raymond Scottwalker (Fallopian Tunes) wraps up the record with another rework of 'Reflex', creating a mind-bending, aggressive industrial rejig.

Big Yawn's remix EP is a dynamic pairing to No!, entrusting an exceptional group of musicians to adhere to the spirit of the record, yet take it in a totally re-imagined direction

Rhythm Section welcomes Nicola Cruz to the fold with his debut EP on the imprint - “Subtropique”. Inspired by an Ecuadorian upbringing, percussion is at the heart of how Nicola operates. His rhythmic style finds a natural home on the London label - which presents 5 expansive efforts equally indebted to traditional drumming as they are to contemporary club sounds. Remaining sonically cohesive without feeling the need to settle into a definable style - the tracks are tied together by a lucid psychedelic thread which, despite challenging the expectations and fundamentals of electronic dance music - demand movement at a time where we yearn for it.

A rare treat for Drumcode faithful: A-Sides Vol.10 is set to drop in December, the second edition of the beloved series to come in 2020.

Fuelled by the extra time and space to be creative during lockdown, Drumcode’s collective of artists have stepped up. Across 17 contributions, the producers have gone deeper into their sonic repertoire, crafting powerful, yet reflective works that capture the range of the label’s sound.

Jay Lumen leads the way with a rousing riff-driven weapon, ‘Galactic Rainbow’, while Ramon Tapia brings us the muscular gem ‘Drum Control’, mixing up ruffneck techno with a barrage of synapse-tickling synths in the second half. Both rousing highlights of the compilation.

Victor Ruiz, Drumcode’s most prolific contributor in 2020, dishes up ‘Love Story’, led by a huge vocal lead. Zimmz also returns with ‘Tension’, which deftly combines deep squelchy grooves with a silky synth interlude. Thomas Hoffknecht follows up his debut on Vol.9 with ‘Escape’, keeping listeners on their toes with dynamic, choppy shifts throughout. Veerus joins with another stirring addition ‘I Know’, reinforcing why Beyer rates him so highly.

Elsewhere a string of debutants feature: buzzy newcomer Lilly Palmer gives us ‘Amnesie’, a brilliantly pummelling and eerie cut; Alex Lentini & Stomp Boxx serve up ‘Expanders’ mixing up drone effects, trippy vocals and an unsettling melody line; and Patrik Berg’s ‘Activated’ is full-bodied techno that drops down into funky rhythms.

Long-time DC family member Bart Skils brings his A-game with the thrilling no-nonsense ‘Solid State’ that hits like a steam train. Likewise, Alan Fitzpatrick who brings a momentous slab of techno energy with ‘Rochus’, while Thomas Schumacher, now feeling like a regular on the imprint, crafts another dark techno opus, this time in collaboration with CAITLIN.

There’s even a special appearance by the chief Adam Beyer, who makes a welcome return with the progressive-tinged ‘Changes’, driven by organic tones and spacey atmospherics. The track stands as his first original contribution to A-Sides since 2017.

Spirit Of House’ is a jackin' 90’s Chicago inspired groove. It’s an uplifting, dance floor ready track from two of House music's finest. Those unmissable vocals from the legendary Gene Farris add a stamp of old authenticity – he’s a bonafide Chicago legend, who’s contributions to the House music scene are undebatable. He’s been pushing musical boundaries for close to three decades, working with world-leading labels and artists such as Relief, Dirtybird, ViVa Music and Defected.

ATFC is a longstanding label favourite and household name in the scene. He has 3 UK top 40 hits under his belt and has remixed tracks for the likes of P Diddy, Missy Elliot, Simply Red, Faithless and Dido. He’s entered Pete Tong’s Essential Mix hall of fame - and the BBC Radio 1 tastemaker himself described ATFC’s productions as ‘verging on genius’. This collaboration is a match made in heaven.

‘Spirit Of House’ is a deeply playable, feel-good House record from two of the most established producers in the scene.

‘R U’ features a catchy piano hook, tough drums and that deep, powerful vocal from Gene Farris himself. It’s a stripped back, gritty house cut and we're proud to be giving it a home on Toolroom.

Whilst sampling can be a sticky subject in dance music, 'Tech House Kinda Thing' is a fine example of how digging deep and being creative can be hugely rewarding. The vocal sample on this record is from another house titan; Harry Romero. This was taken from an event promo video that Harry recorded himself and posted on his Instagram page. Being the creative soul he is, ATFC heard it, sampled it, brought the idea to a Toolroom writing camp last November, and voila, this record was born! The record itself is an energetic club workout, produced with the detail and finesse you'd expect from such a legendary producer such as ATFC. With driving rhythms, off beat quirky stabs and that unique, spoken vocal, this really is a special record!

‘Not Enough’ is an uplifting, funky, feel-good tune. It oozes that ATFC warmth and the vocals from Mia Mendez add some serious sunshine vibes! Her voice is super powerful and within seconds of hitting play on this record you're whisked away to a sun drenched terrace!

A rare treat for Drumcode faithful: A-Sides Vol.10 is set to drop in December, the second edition of the beloved series to come in 2020.

Fuelled by the extra time and space to be creative during lockdown, Drumcode’s collective of artists have stepped up. Across 17 contributions, the producers have gone deeper into their sonic repertoire, crafting powerful, yet reflective works that capture the range of the label’s sound.

Jay Lumen leads the way with a rousing riff-driven weapon, ‘Galactic Rainbow’, while Ramon Tapia brings us the muscular gem ‘Drum Control’, mixing up ruffneck techno with a barrage of synapse-tickling synths in the second half. Both rousing highlights of the compilation.

Victor Ruiz, Drumcode’s most prolific contributor in 2020, dishes up ‘Love Story’, led by a huge vocal lead. Zimmz also returns with ‘Tension’, which deftly combines deep squelchy grooves with a silky synth interlude. Thomas Hoffknecht follows up his debut on Vol.9 with ‘Escape’, keeping listeners on their toes with dynamic, choppy shifts throughout. Veerus joins with another stirring addition ‘I Know’, reinforcing why Beyer rates him so highly.

Elsewhere a string of debutants feature: buzzy newcomer Lilly Palmer gives us ‘Amnesie’, a brilliantly pummelling and eerie cut; Alex Lentini & Stomp Boxx serve up ‘Expanders’ mixing up drone effects, trippy vocals and an unsettling melody line; and Patrik Berg’s ‘Activated’ is full-bodied techno that drops down into funky rhythms.

Long-time DC family member Bart Skils brings his A-game with the thrilling no-nonsense ‘Solid State’ that hits like a steam train. Likewise, Alan Fitzpatrick who brings a momentous slab of techno energy with ‘Rochus’, while Thomas Schumacher, now feeling like a regular on the imprint, crafts another dark techno opus, this time in collaboration with CAITLIN.

There’s even a special appearance by the chief Adam Beyer, who makes a welcome return with the progressive-tinged ‘Changes’, driven by organic tones and spacey atmospherics. The track stands as his first original contribution to A-Sides since 2017.

The concluding chapter of Jamaica Suk’s 17-track ‘Uncertain Landscape’ series arrives with a bang, with another four explosive tracks to round it off.

Milton Bradley — aka Alien Rain — begins proceedings with a hammering assault in the form of ‘Driving Force’. Detuned, ravey synths produce a cacophonous barrage of sound as the rubbery kick groove intones more hardcore vibes. There’s a touch of John Carpenter vibes in the spooky arpeggios that permeate the more stripped back sections. Bone-crushing groove abounds throughout.

Italy’s Kill Ref delivers a distorted thumper on ‘Subbaculta’, slowly eeking out a rasping groove from the underbelly of his pummeling drums. The track keeps building throughout, the shuffling rhythm
bolstering some seriously raw machine funk in the latter half that emerges almost imperceptibly.

The ringmaster herself, Jamaica Suk, makes her contribution to the series on ‘Escape’. She conjures up a tripped-out soundscape where layers stack in potent combination. Squelchy acid licks do battle
with the stomping bass groove and heavily-reverbered sustained textures. It sounds as if there are monsters loose in the speakers.

Nicolas Bougaïeff closes this momentous four-part release with his second contribution, ‘Nocturne 3’. Rocking a stuttered kick pattern, it revolves around grunting swathes of industrial noise, on-beat
clap patterns and all manner of weird and wonderful sounds that pitch-bend, tweak and freak to delightful levels of intensity. It’s a very well arranged and sequenced track that keeps you guessing.

DJ Traytex showcases in his debut release with the Back Then EP on Loser Records, his skill with ambient breaks, with light, glittering melodies that trip over deep basslines and punchy rhythms. Soft, meandering cadences and flowing landscapes combine with a thumping, sometimes brittle drive in the breaks, making this EP as cerebral and emotive as it is atmospheric and danceable: just as much for the private listener, as for a dancefloor vibrating at 5am.

Fresh from the release of André Hommen’s More Than This album earlier this year, October will see the German talent follow up with the first of two special remix packages. Set for release on his own imprint, These Eyes, More Than This Remixes Pt. 1 includes stellar offerings from two Kompakt regulars: Robag Wruhme and Jonathan Kaspar.

Beginning with the punchy sounds of Robag Wruhme ’s remix, hard-hitting drum combos are swiftly complemented by reverberating vocals, as up-tempo hats create rhythm to forge a no-nonsense dancefloor cut. Jonathan Kaspar ’s remix rounds things off gently, with a softly-building bassline that ebbs and flows alongside whispering hats and warm, soothing pads.

André Hommen ’s international following should come as no surprise given his already storied career. As label head of These Eyes, the imprint has welcomed standout releases from the likes of Ane Brun and Marc Romboy previously. Another staple of Germany's ever-flourishing music scene, Robag Wruhme ’s productions have found a welcome home on labels as acclaimed as Koze’s Pampa Records, Kompakt and Mute to name a few, whilst fellow prolific-producer Jonathan Kaspar has released two EP’s on These Eyes, then also Objektivity and Acid Pauli’s Ouië in an already-storied career.

Bringing a combination of two conceptual artists Ultrastretch 11 moves away from dance music to present this comtemporary off kilter.


On the A side, Montreal based producer Ohm Hourani, known for minimalistic jazz influenced works on his own imprint ANOMA and beyond, with compositions showcasing infusions of organic sounds combined with modular synthestisers, drum machines and vocalists such as his collaboration with award winning Jazz singer and Vocalist Diminique Fils Aime.


On this release he presents a 14 minute stripped down, intrinsically and subtly arranged combination of elements Initiale by a minimalistic kick drum joined by a synth driven, quirky / hypnotic mind drilling element paired with the finest straight hihats delicately placed on the background as the Constant. The subtle movement of the track is introduced by percussive drumming, vocals and piano keys forming the most beautiful atmospheric melody. The last element of surprise brings shuffling hihats bringing amazing swing to the overall elegantly slick piece.

The B side brings the highly sought-after drummer Samuel Rohrer. Ranging from ECM sideman to member of KAVE, a quartet alongside techno pioneer Max Loderbauer, Stian Westerhus and Tobias Freund as well as collaborative works with Ricardo Villalobos and Laurie Anderson, he is known for his unique sound aesthetics on advanced musical cross-pollination, developments of improvisation in acoustic jazz and wider horizons of live electronics.
Rohrer also brings a hypnotic reinterpretation but in a very different manner / mood than the A side. Initiated by strings combined with Rohrer’s tight drumming patterns at the forefront and bass line underneath as the constant, combination by which forms a tense yet peaceful core pattern to this track. To compliment this, synths create movement by adding cosmic and quirky sounds forming an atmospheric soundscape with the whispering vocal “shake it” on top. Overall, the paradoxical relationship between tight (rhythm) and lose (soundscape) is presented in perfect harmony with each other.

This music was composed for SKALAR, an audio-visual kinetic art installation by light artist Christopher Bauder & Kangding Ray SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Created by light artist Christopher Bauder and musician Kangding Ray, this monumental artwork is a reflection on the fundamental nature and essence of human emotions. By combining a vast array of kinetic mirrors and perfectly synchronized moving lights with a sophisticated multi-channel sound system, SKALAR offers an audio-visual narration of radiant light vector drawings and multi-dimensional sound in enormous pitch-dark spaces. SKALAR is an intense journey through the cycle of basic human emotions. Everchanging tonalities trigger the full spectrum of emotional experiences using light, sound, and motion. The feelings of awe, surprise, exhilaration, and anticipation of having one’s senses overwhelmed are created, explored, and repeated in cycles throughout the piece, providing a collective, yet highly individual emotional experience. Light and darkness as endless cycles of day and night define our perception of time and influence our emotions. SKALAR is a central piece within light artist Christopher Bauder’s body of work, reflecting his deep fascination with light. In this gigantic installation, light is treated as a solid material that can be dimensionally sculpted and shaped, evoking abstract emotional associations. Intertwined with the tireless exploration of textures, rhythm, and sound design by musician and composer Kangding Ray, the silence of darkness is filled with iridescent forms of spatial light and sound. The original composition is spatialised in 360° over a 12 channels sound system, this stereo version has been mixed and mastered to convey a similar sense of space.
As of the release of this record, SKALAR has been presented in Berlin (Kraftwerk) in 2018,
in Mexico City (Frontón) in 2019 & in Amsterdam (Gashouder) in 2020. Fore more information about the piece and its concept, please visit skalar.art

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.



Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage - a self-styled fusion Kamaal describes as Wu Funk.



New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.



Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

In these turbulent times we have managed to release six pieces of wax to date.This is something to be proud of, and of course we are.

For this sixth slice of plastic we have Kalter Ende on board and it’s a real pleasure. From his bunker hidden somewhere in the middle of the peninsula, he runs his label Concerns Music and his mastering studio Reborn.

On the production side he has lately gone into modular, and you can clearly feel the machines in his productions and in his amazing live act.

For this release he has cooked up five cuts of modern and complex techno, carefully crafted, nothing easy or predictable. Mujo, the opening track, is a clear example.

Jōshahissui follows slow paced grooves, crispy analogue percussion, linear hypnotic sequences and a wise and dynamic arrangement. You can feel the circuits singing in this one.

Sengoku introduces distortion and harshness, a diffused kick drum and processed synth lines running together from the beginning until flanged sequences come on top, a weird marriage of overdrive and deepness.

Closing the release, Senran explores the profound side of techno, clear synthetic drums, liquid synths, elastic bleeps, again on a complex and wise arrangement.

As digital bonus we include the track Ran, again a precise electronic workout made of continuous synth lines and sharp rhythms.

Five timeless pieces of danceable electronic music, away from trends, far from the easiness, done by professionals for professionals. Touchable, collectable and physical as every piece of vinyl is.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Following on from the recent and well received half-speed masters of
‘Amplified Heart’ and ‘Walking Wounded’, Buzzin’ Fly are proud to release EBTG’s 1999 album ‘Temperamental’. The album is a follow on from the global success of Walking Wounded in 1996 and features a myriad of rhythmic pop styles, including deep house grooves, fierce drum & bass and hip-hop infused funk. It contains the singles Five Fathoms, Blame and the title track Temperamental. The original vinyl was released on a limited edition ‘DJ friendly’ vinyl which is now a collectable item. The artwork for this new edition has been re-created
from the original source material to bring it in line with the original CD version. Like the previous two releases, it has been Mastered and Cut at half-speed by Miles Showell at London’s Abbey Road Studios.