Suche:dub head

2023 Repress

King Tubby's and Channel One were two of the great studios that produced so many of the great reggae rhythms in Kingston.Jamaica find themselves here for one night only battling for the trophy.
So who would be better placed to compare the Dub Soundclash from the two great studios then Bunny Lee himself.
Throwing rhythms over at Channel One who had enlisted the great DJ Jah Stitch to return the fire.
So sit back and enjoy two great institutions of the Reggae sound ,battling it out for sumpremacy.
The winner...we will leave that decision up to the listener.
But in this Dub Soundclash there is no loser...
All killer..No filler...Enjoy

Heels & Souls Recordings step back to 1988 for their sixth reissue, relicensing and remastering Flair's anthemic soul number 'Chasin' The Rain.' For the uninitiated, strap yourself in for six blissful minutes of heavy bass licks, soaring vocals, and infectious synth lines.

Consisting of Janet Rose (aka UK Soul queen JB Rose), Joe Matz, Peter Bielig, and Peter Shindler, Flair was a predominantly German affair, with Rose being the only UK band member and Bieling living in London during the late '80s. This is a curious detail considering 'Chasin' The Rain' is often lauded today as a UK Soul classic - partially due to its release on the prolific UK label Champion. However, it's squeaky-clean production values, and the fact it was mixed and mastered at the famous Jankowski studio in Stuttgart by three Germans, reveals a somewhat different story.

The track has that UK street soul heavy low-end, but with a synth-pop flavour sprinkled in the mix - swinging synth lines and gated snares aplenty. Yet from chatting to Peter Bielig, who's been instrumental in getting this record reissued, the sounds sweeping across the Atlantic from the likes of Jam and Lewis, who blended R&B, funk, soul and pop, were clearly a big influence too.

Those were heady days for four young twenty-something musicians, with Peter recalling cherished memories these tracks bring back, telling of his and JB's PA sessions at London's Gulliver's nightclub. However, while 'Chasin' The Rain' had all the hallmarks of a chart-breaking hit, Champion prioritised other projects and the record never broke. Sadly the group disbanded after only two releases, and this musical gem was consigned to the crates of those in the know. Soon after, Peter Bielig went to Jamaica to work at Tough Gong Studios, working on albums for Rita Marley Music. He now lives in Brazil, producing local artists in his studio in Salvador.

Unfortunately, the master tapes were nowhere to be found, so we had the maestro, Sean P, rip and restore a mint copy of the record, with award-winning mastering engineer Cicely Balston working her studio magic for that added punch.

Eric Hilton von Thievery Corporation hat sich für diese 7" mit Puma Ptah von der Thievery-Liveband zusammengetan. Exzellente Reggae/Dub/Afro-inspirierte Headz Music. Limitierte Auflage auf grünem Vinyl.

The Alpha Transmissions EP is a new project from Dubbyman that has been long in the making. The always classy producer brings his trademark deep house sound to Inner Shift Music with label owners Brad P and Rai Scott getting in on the action. 'Transmission #1' is smooth, serene and dubbed out deep house with cosmic energy, while 'In The Space (Song For Joey)' is a more loose-limbed groove peppered with gentle percussion.'Transmission #2' first comes as a Man-Drake edit that is widescreen and drenched in prog rock guitar licks and as a Rai Scott remix that is more rolling and heady. A typically versatile package from Dubbyman.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

Tamango Records boss Yaya heads to TRMNL Records as he unveils his latest EP on the imprint, backed by remixes from Salty Nuts head honcho Fabe and label resident Vito.

Heading up his Tamango Records imprint while serving up killer cuts and remixes on Desolat, Moan, Revival New York and more, Yaya is a man in high demand across the globe. With his take on house music bridging influences from Africa to Italy, his percussive-driven and slick sound has made him a favourite for those looking for productions leaning towards the more energetic yet minimal end of the genre. That style is on show once more as he adds a new label to his catalogue. Joining the likes of Djebali, East End Dubs, Ray Mono and Samu.l, late July brings the release of his new EP ‘Para Siempre’ on UK imprint TRMNL Records, accompanied by a slick pair of remixes from Fabe and Vito to shape up the package.

Title track ‘Para Siempre’ is a skippy and bouncy lead effort as crisp drums, a zippy bassline, and warped vocals go to work to showcase a production bursting full of vigour, while ‘Umbrella Corps’ leans towards more organic, rolling percussion arrangements, shuffling rhythms and elastic melodies guide things towards the later hours. On the flip, Fabe steps up for the first remix as he brings his signature groove-led style to proceedings for a swingfuelled slice of funk, before Vito’s crisp take on ‘Umbrella Corps’ closes the show with a final injection of early hours goodness.

Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA

Long time Leng recording artists 40 Thieves are back with one of their most notable singles to date – a surprise collaboration with two NYC disco originals, storied vocalist Cinnamon Jones and multiinstrumentalist/producer Gary Davis.

San Francisco outfit 40 Thieves has been serving up cosmic, dubbed-out and otherworldly contemporary disco treats since the mid 2000s, and have been part of the Leng family since 2011. The crew, headed up by Layne Fox, Jay Williams and Corey Black, have released countless killer cuts on the label, as well as an expansive
debut album, 2014’s The Sky Is Yours.

They’ve worked with other artists before, but nobody at the same legendary level as Cinnamon Jones and Gary
Davis. The latter cut his teeth as a musician working with iconic disco producers Patrick Adams and Peter Brown at their P&P Records stable, before becoming a producer and artist in his own right writing and arranging the disco classic ‘Got To Get Your Love’ performed by Clyde Alexander & Sanction.

Jones, meanwhile, has enjoyed a hugely successful career both in her native New York (as Joyce Jones, an original member of First Choice) and on the West Coast, where she not only became an in-demand performer, but also snagged a role in the Supremes biopic Dream Girls.

‘The Gift’ is one of Jones’ most cherished solo songs – a joyful celebration of a new day dawning that has long been popular in her live sets. With input and instrumentation from Davis and a fantastic delivery of her own lyrics by Jones, 40 Thieves has successfully re-framed the track as a sunrise-ready future Bay Area free party
favourite; a dubbed-out, suitably cosmic creation that’s presented in three potent versions.

Leading the charge, and stretched across side A of the vinyl version is the band’s ’Disco Mix’ which boasts a fully realised instrumental arrangement and extensive use of passages from Jones’ vocals. Not all the lyrics are present as the Bay Area band has chosen to focus on selected lines that most neatly fit their musical vision and
celebrate the joys of dancing at sunrise. There are more spaced-out keyboard solos, sharper guitars (smothered in effects in true 40 Thieves fashion) and sound design that’s as immersive as it is heady and intoxicated.

On the flip is the ‘Disco Dub’. A bona-fide dub disco chugger rich in relentless synth-bass, addictive guitar licks, echo-laden vocal snippets, sparkling nu-disco electronics, tactile, deep house style electric piano stabs and cosmic effects aplenty, it’s a track tailor-made for slowly shuffling while the sun peeps over the horizon.

To complete an inspired package, 40 Thieves have also included a killer DJ tool: a ‘Beats’ take that wraps energy packed percussion hits, trippy electronic noises, trailing dub delays and sparse melodies around a metronomic drum machine beat. It’s a wavy, groovy and pleasingly mind-altering way to conclude one of 40 Thieves’ most magical EPs to date.

Experimental hip-hop/jazz quartet Bokoya team up with Colognebased producer / guitarist Gianni Brezzo (Jakarta Records) for collabo album on Melting Pot Music. Bokoya describe themselves as a four-headed human drum machine that play improvised beat music.

You can call it jazz if you like (all four members are graduated jazz musicians btw) but be ready to stumble over some Dilla, kraut rock, ambient or dub in the mix. We recommed their their doublealbum “Hausensession” (MPM, 2022) as a reference point.

Gianni Brezzo's music is a bit easier to access but not less leftfield. Jazz is a major influence too but it goes way further. On his album “Tutto Grosso” (Jakarta, 2022) Brezzo rides a sonic wave similar to Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood.
The recording sessions for “Minari” took place at the Gottesweg Studios in Cologne where Bokoya and Gianni Brezzo jammed for three days and nights based on some basic sketches and beats. The sessions were edited and arranged after by Bokoya and Brezzo but no overdubs added.

Improvised & produced by Bokoya & Gianni Brezzo.
Mixed & mastered by Roe Beardie.
Artwork by Jens Roth & Jeremias Diekmann.
Leon Raum - Drums
Darius Heid - Fender Rhodes, Synth
Lukas Wilmsmeyer - Guitars, Bass
Ferdinand Schwarz - Trumpet, Synth
Gianni Brezzo - Guitars, Sampler, Effects

INTERSPECIES RECORDS, an inter-disciplinary label that brings together not only DJs and producers, but also visual artists, electronic instrument engineers, and other specialists in sound and space, is proud to release its fourth 12-inch record!

For our latest offering we present the return of Recloose, a veteran producer who has created numerous masterpieces on labels like Planet E, Rush Hour, Peacefrog, and other global imprints since the late 1990s. He continues to explore his sound in this ambitious work, blending old and new influences, samples and synths, delivering two anthems for the dancers and heads alike.

This release also includes stellar remix work from Middle Point, DJ NORIZM and kashi, the label crew of INTERSPECIES RECORDS. In the spirit of their label, each remix presents a unique twist on the original by pushing musical boundaries, fusing elements of Balearic, Loft House, Dub, UKG, Jazz House, and African sounds.

As is the case with the world’s best DJs, this is a piece of music that conjures a new, unknown world by freely mixing without restraint.

For more than a decade, Freak Heat Waves have been steadily amassing a cult following and earning acclaim from both critics and underground aficionados alike. Their music is a heady cocktail that defies easy categorization, blending elements of post-punk, psych, dub, ambient, house, and techno.

Their eclectic sound has served as the soundtrack to countless DIY punk shows, outsider galleries and sleazy discos, establishing the duo as iconoclasts with a reputation for ignoring expectations and subverting genre conventions. While at times, the term ‘acquired taste’ may have seemed fitting, their latest release offers their most alluring output to date.

Mondo Tempo, the duo's fifth LP, released through Vancouver's Mood Hut, was primarily recorded at their home studios in Montreal and Victoria. Building upon the electronic explorations of their previous record, Zap The Planet (Telephone Explosion), they inject their signature sound with a smoother and sweeter blend of dance music. The album’s tracks feature midi smoothness, trance mantras, dancehall grooves, ambient textures and vocal samples, creating a world that is both captivating and immersive.

Notably, the lead single “In A Moment Divine” features a collaboration with Cindy Lee, resulting in a dance floor number that boldly ventures beyond the familiar wheelhouses of both acts. With Mondo Tempo Freak Heat Waves solidify their reputation as one of the most exciting and unpredictable acts around.

This record is named after Vedyanta, an ancient philosophy based on the Vedas, the sacred scriptures of India. The music, originally composed and produced by Joseph S Joyce and later remixed by Sebastian Mullaert of Minilogue, was greatly inspired, after reading commentaries from Swami Rama Tirtha's biography "The Scientist & Mahatma" - Chapter 1 - Vedanta and The Secret of Success. Now, some nine years later, it gets served up as a remix EP.

There's a dark El Choop Reconstruct, a gorgeous ambient version from Sebastian Mullaert, a minimal headscape from Van Bonn, Federson SF goes warm and dubby and then a crisp, tech-edged vibe from Paul 90 ends the EP in style.

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise.

Lewis II was the follow up to Lewis Taylor's epochal, self-titled debut album. It was initially released in 2000 and this double LP release, its first ever vinyl edition, has been heavily anticipated for nearly a quarter of a century. It's often years before most listeners catch up with an album's breathtaking vision and devastating execution, and so it has proved with Lewis II; it stands up exceptionally well today.

After Island rejected Lewis Taylor's second release (later released as The Lost Album), he returned to the studio to record Lewis II. Less esoteric than Lewis Taylor, Lewis II is a more polished, sophisticated funk and mature uptempo soul than the dark psych-soul of his debut. The production, whilst slicker, is a bit tougher, with more crisp, R&B-flavoured grooves and head-nod beats and more bass pumping up his voice. The vocal intensity present on album number one doesn't abate. Indeed, as Lewis himself noted, "my voice is better on Lewis II and the vocals are high in the mix."

The moody funk of "Party" sounds like a mad blend of Riot-era Sly Stone and Brian Wilson. It rides a stuttering drum machine groove with acapella harmony vocals arriving halfway through to stay for the duration. "My Aching Heart", with its clean, slick, late 90s R&B drums, could surely have been a single. Perhaps Lewis's idiosyncratic melodies would've been too challenging for the charts. Lewis *had hoped* "You Make Me Wanna" would be a single but the dank, organ-drenched groove, coupled with the growling eroticism of Lewis's vocals would've, again, made this beyond the pale for most mainstream music fans. Somewhat incongruous acidic synths and bleeps give way to a laconic summertime groove on breezy highlight "The Way You Done Me", all funky acoustic guitars and stunning, good-time vocals. Sumptuous ballad "Satisfied", a real fan favourite, marries unusual instrumentation with classic soul-ballad structure and closes with a monster guitar solo which almost out-Princes Prince in its gritty melodicism, set against sweeping strings of real majesty. Prog-Funk-Rock!

The dubbed-out, spaced-out "Never Gonna Be My Woman" is the closest the album comes to classic D’Angeloesque neo-soul, with echoes of the esoteric funk featured across Maxwell's contemporaneous Embrya. But what follows is on some next level business. As Lewis's biggest fan, Geoffrey Scull, noted, "the "I'm On The Floor" / "Lewis II" / "Into You" song cycle stacks up against any other consecutive 15 minutes of recorded music, ever!" And who are we to argue with that? These could've been hits for Justin Timberlake during his fascinating Timbaland-collaborating days, such is the sonic and textural pop experimentation at play here. The extraordinary title track sounds like an outtake from Marvin Gaye’s Trouble Man and spends its last third as a searingly dark piano-led psychedelic-guitar-crunching soul instrumental. Just astounding. And then. AND THEN! The way it segues into, er, "Into You" is just straight up genius. Goosebumps galore on this one, no words can describe its celestial brilliance. Just kick back and be beguiled by the "Let me come on over again" refrain that ornately adorns its sensational coda. Phew.

The swoonsome, lovelorn ballad "Blue Eyes", apparently written in the spirit of Marvin’s "Vulnerable", is a lush, slow swinger with some gorgeous noir touches. To close, Lewis completely retools Jeff Buckley’s beloved, beautiful "Everybody Here Wants You" and, while talking some liberties, even manages to surpass the original. Yes, really! With soaring, fiery vocals set against icy piano and psychedelic guitars, Lewis recasts Buckley's effort as dramatic, ethereal soul.

When it came to translating the original CD booklet into a 12 inch LP sleeve, thanks to some suggestions from Cally Callomon (head of Island’s art department, who designed all the sleeves for Lewis’s two Island albums and their singles) and his trusting us with his “Lewis Taylor” folder full of various negatives, test prints and whatever else he was able to salvage from the old Island art department, we’ve gotten pretty close to what the original LP sleeve would’ve looked like if it existed. Simon Francis’s vinyl mastering, presents the eleven tracks over a double LP so, as ever, the record sounds outstandingly good. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry.

Label head J.Wiltshire returns to Super Hexagon with eight tracks of ambient techno-inspired music paying homage to some of the collective's early influences.
‘sun link' is laced with tensile rhythms, tinged with sun-washed melodies and plots a winding path through warm, Ultra Panavision soundscapes and icy dub techno sonics.

Mastered by Andy Miles
Design by Joe Gilmore

About J. Wiltshire:

Jacob Wiltshire has been releasing music and spearheading the Super Hexagon label and event series since 2015 - starting with the collective’s early showcases in Leeds and through to recent releases from Christoph de Babalon and Isabassi. ’sun link’ marks his return to the label for his third solo endeavor into the long play format.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

London-based Italian David Agrella is the man behind the Agrellomatica Records label and now for its fifth release, he has tapped up some undeniably quality names to remix the title tune from his debut Modulo EP back in 2007. Baby Ford kicks off with a deliciously deep and dubbed-out minimal house roller that is detailed with wispy chords and eerie vocalisations. Agrella himself then flips it into a rubbery 909 workout with pops and bubbles next to the leggy drums. GNMR goes for a gritty, heads down and back room techno roller and to close, NDR brings a retro techno sound with molten acid lines. All in all a very useful outing.