Cerca:dub one

Koma Saxo is a highly potent new five-piece produced by the visionary Berlin-based Swedish bassist-producer Petter Eldh. The lineup brings together five heavy jazz names on the Berlin–Nordics axis, including Eldh on bass, Christian Lillinger on drums and the frontline of three saxes: Otis Sandsjö, Jonas Kullhammar and Mikko Innanen. Despite the top-billing names, make no mistake: this is not just another "supergroup", but a real working band with their own sound and musical trejectory.

Eldh's vision for the Koma Saxo sound is one step ahead of what groovy avantgarde jazz could sound like in 2019, involving postproduction work with the raw material recorded in Helsinki in connection to Koma Saxo's successful debut at the We Jazz Festival. Both studio and live tapes exist side by side, and Eldh goes deep in molding the final music to be heard on the upcoming Koma Saxo releases.

The first introduction into the world of Koma Saxo comes in the form of a 7"/digital single "Port Koma / Fanfarum For Komarum". Side A presents a restlessly dubby beat track, which would be ripe for hiphop sample use. The flip launches into a joyful full-on groovy free jazz fest which is hard to resist. Think Art Ensemble of Chicago at their swingingest but add a little "Nordic Noir" dropped right into the busy streets of Berlin's Kreuzberg.

Daughter of the mighty George Kerr, Sandy set the scene alight in ’82 with the explosive classic, ‘Thug Rock’. Badass slap basslines, zapping synths, ethereal pads and Sandy’s iconic rap were a timeless recipe of pure ‘80s, boogie-infused power that’s blasted from many a boombox, sung on all manner of club systems and sound tracked endless open road cruises over the years.

Released on the South Carolina label Catawba Records, two prolific duos blessed ‘Thug Rock’ alongside Sandy and co. Her father, who produced for the likes of Alice Clark and The O’Jays and Sugarhill wizard, Reggie Griffin, headed up the production and arrangement, with ever-dependable M&M aka John Morales & Sergio Munzibai taking the reins on the mix. Their combined talents can be heard in the tangible weight of the track, each element getting the space it deserves to facilitate that crystal-clear clout - from the huge bass riffs and sublime keys, to the punchy drums and Kerr’s infectious rap. An earworm if ever there was one!

Take to the flip to find the much in-demand dub version, echoing out choice snippets of Sandy’s rap to focus in more on that killer boogie-funk groove. Original copies are tough to come by in the UK, so an official reissue will be music to many an ear.

This year, First Word Records celebrates its fifteenth year in the game. The year commenced triumphantly with First Word being named "record label of the year" at Gilles Peterson's Worldwide Awards 2019. Over the past six months, we've seen new music from 14KT, Souleance, Myele Manzanza, Teotima, Don Leisure, Children of Zeus and a range of artists across Europe, on the 'Music! Musik! Musique!' compilation.

To commemorate the 15th anniversary, First Word has a series of releases in the works for the second half of the year which see collaborations by artists from the label's current roster. To kick off, we have this special double-AA sided 7" single featuring Darkhouse Family, Kaidi Tatham & Tyler Daley.

Darkhouse Family consists of two Cardiff beatmakers & musicians, Earl Jeffers - founder of Melange Records and producer of 'A Library Excursion' from 2018, and Don Leisure, who recently provided us with 'Halal Cool J', the beat-tape sequel to 2017's 'Shaboo'. Over the years they've had releases, solo & individually, on Fat City, Metalheadz & Earnest Endeavors to name a few, bridging the gaps between various strains of dance music, beats and hip hop, with the organics of jazz and funk. Recently making noise across the UK with their new live band, and production work for the likes of Kamaal Williams, this is their first new release since their highly-acclaimed 2017 debut album 'The Offering' & subsequent remix project which also featured DJ Spinna, and one Kaidi Tatham.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. His endless contributions have included Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more. Dubbed by Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince. He can play most things, and play them well. Providing flute duties on this track, he also graces the flipside with a full "flutestrumental" version. Aside from numerous other projects, Kaidi released three EPs on First Word to date, 'Changing Times', 'Hard Times' and 'Serious Times', and an album last year, entitled 'It's A World Before You', which featured daddy of 2000 Black, Dego, son of Jazzy Jeff, Uhmeer and Children of Zeus, Konny Kon & Tyler Daley.

Tyler Daley hails from Manchester, alongside son of Zeus, MC / DJ / beatmaker, Konny Kon. Somewhat of a veteran in the game, Tyler is currently one of the most-recognisable talents in the British soul scene, also lending his talents to dance music royalty along the way, including the likes of Goldie, Zed Bias, DJ Marky & Lenzman. With Children of Zeus, the duo have had a whirlwind 12 months since the release of their debut album 'Travel Light', performing shows across the globe & gaining new fans daily. The record was named "album of the year" by Complex magazine and BBC 6 Music's Huey Morgan, amongst a number of other notable tastemakers & selectors. Hot on the heels of the 'Excess Baggage' EP, Tyler laces this one with his inimitable brand of bars and soul.

A veritable super-group amongst the First Word stable, this low-slung slinky joint sees the guys work up a unique blend of jazz, soul, beats and hip hop - guaranteed to go 'All The Way'…

'All The Way' is released on First Word Records on July 26th 2019, limited 7" vinyl & digital.

Produced & mixed by Darkhouse Family

Vocals by Tyler Daley (Children of Zeus)


b B1. All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]

The past few years, we've watched from afar as Tokyo based DJ Haruka has established himself as one of Japan's top DJs and a crucial figure in the dance music scene. Since inviting him to play a Butter Sessions party in Melbourne and catching him multiple times in Japan, our online curiosities were met in real life with his impeccable taste and personalised style of house and techno. Needless to say, when Haruka sent us his debut EP "Senko", we instantly heard something special in his approach to music creation.

The three original tracks, entitled by their respective BPMs, encapsulate everything we loved about his DJ sets - bold, acidic and relentless synth sequences that are as intense as the Shibuya crossing, paired with masterful live percussion and drumming from Izpon (of Japanese salsa band Banderas) and Shigekazu Otake (of cult group Cro-Magnon) to create a unique sonic space. The recordings snarling nature reflects the pure force of DJ Nobu's Future Terror crew, of which Haruka is a key member. Additional live dubbing and mixing work from Naoyuki Uchida of Dry & Heavy - "Flying Rhythms" glues this raging bull together while purveying it's raw energy.

On the flip side, label heads Sleep D offer an unflinching club-ready version of "120", while French royalty Zadig contributes a mesmerising 14+ minute dubbed out, psychedelic burner that brings a new focus to the soundscapes of the original.







d 4. 120 (Sleep D Remix) feat. Izpon, Shigekazu Otake & Naoyuki Uchida
[e] 5. 106 (Zadig Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]

SHELVED RECORDINGS 2.2

The second part of the two part set from SHELVED RECORDINGS !

Returning to a brief but very fruitful period in electronic music production, Shelved Recordings exists to look back to the golden age of the remix, with a clear view of the future it imagined.

Artists who were steered towards maverick producers, with a view to changing the rules, to re-defining the terms of what modern music should and could be.
Pioneering techniques, over-dubs and an exploratory period of pop production, resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the the hedonistic label managers who commissioned them.

Carefully reconstructed and rebuilt lost classics from someone who was there the first time around !








One limited vinyl press only

The long-standing collaboration between influential NYC DJ Eli Escobar and critically acclaimed singer-songwriter Nomi Ruiz has produced a collection of timeless club gems. Now after years of featuring on one another’s records, they launch their latest joint project Eli & Nomi, revealing their first production as a duo, ‘Dance 4 Love ‘99’ on Classic Music Company. As they continue to work away in the studio on their full-length LP, this 12” delivery debuts Eli & Nomi’s funk-laden, disco infused style with this glorious ode to the dancefloor. The release also features ‘Dub 4 Love ‘99’ for those in search of something a little deeper and club-focused.

In 1978 Lord Creator returned to the Black Ark to re-record his in 1968 in Randys studio recorded song, "Such is Life". One of the highlights of the 70s Black Ark era now finally available again on 12".

A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

Vinyl & digital released on Friday 19th July 2019 on First Word Records (Worldwide Awards 'Label of the Year 2019').

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

Exactly a year on from 'Travel Light', we release the final single from Children of Zeus' debut album. A dinked 7" single, containing one of the stand-out tracks from the album, 'Hard Work', and a re-vocalled Lover's Rock version of 'The Heart Beat' (a demo version of which appeared on 'The Winter Tape' from Christmas 2018).

'Hard Work' is a term than can easily summarise the past twelve months in the life of Tyler Daley and Konny Kon. They've been busily touring Australia, New Zealand, South Africa, Europe and the UK twice in that time, as well as rocking shows at countless festivals across the continent.

'Travel Light' was named "Album of the Year" by Complex Magazine, BBC 6 Music's Huey Morgan and Rinse FM's Jyoty, as well as taking 2nd place at the Worldwide Awards (for which their label First Word was named "Label of the Year") and numerous high-placing's from Fact, Mixmag, The Vinyl Factory, Juno, Bandcamp, Mi-Soul, Wordplay & Piccadilly Records, amongst numerous other notable selectors, blogs, tastemakers and musicians, with fans far & wide from Radio 1's Benji B to Chase & Status, Jazzy Jeff to Lily Allen, Stormzy to Goldie.

The depth of styles & genres included on 'Travel Light' confirmed that Tyler & Konny are not easy to put in a box. Their initial inspirations of Manchester pirate radio in the 80's/90's all make up to form the sonic tapestry of hip hop, soul, r&b, broken beat, jungle and, in this instance, reggae.

One of the album's biggest surprises was this now-anthemic track, 'Hard Work', which sees Tyler Daley effortlessly ride a one-drop riddim drenched in positivity, and is a highlight in their live sets, as anyone who's witnessed will testament to. Meanwhile, the flip-side transforms the quiet storm vibe of 'The Heart Beat' into a heavy, heavy dubwise track, creating an essential accompaniment and fitting sequel to the original lick.

Pressed on a limited edition rustic JA-style dinked 7", this one is, of course, essential for any discerning collector, fan and DJ. Released on First Word Records, July 12th 2019.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

Balmagie Jam Rock consists of 16 unreleased dub mixes from the dub master King Tubby. All the original songs were written and produced by Roy Cousins from the Royals. Featuring a virtual who's who of reggae from the classic era -- Sly & Robbie, Lloyd Parkes, Pablo Black, Lloyd Charmers, Ansel Collins, Earl Lindo, Tony Chin, Geoffery Chung, Ernest Rangin, Earl 'Chinna' Smith,Bobby Ellis, Tommy McCook and many more. With the voices of Prince Farl, I Roy, The Royals, and Baba Dread. Recorded between 1966 and 1979 at Dynamic, Channel One and Randy's studios, mixed and voiced at King Tubbv's.

DJ Haram is a producer & DJ who distinctively ties her New Jersey musical history with more recent involvement in the Philadelphia DIY noise scene, whilst paying homage to her Middle Eastern roots. A close affiliate of New York's Discwoman collective, she is also one half of 700 Bliss with rapper & poet Moor Mother, who features on this EP. Haram’s non-traditional understanding of Islam, paired with a nuanced perspective on folk tradition and mythology, underpins the EP, bringing fantasy and colour to this in-between place. On opener ‘No Idol’, a darbuka rhythm pairs with offbeat claps around a dark synth and a contrasting airy flute melody, illustrating the theme of duality running through the music. The melodies of ‘No Idol’ are revisited in the final track remix, sped up with a classic Baltimore club beat and energetic bedsprings samples.‘Interlude’ is a combination of the sounds and patterns from each song. ‘Gemini Rising's synth is reminiscent of John Carpenter, paired with a darbuka rhythm and war drums that transmit a religious sci -fi horror aesthetic. ‘Body Count’ is propelled by Jersey Club kicks with a distorted drum crunch and ticking rim shot in triplets, and an ethereal melody. ‘Grace (K.O.D.)’ has menacing cinematic stabs that feel like acid raining on the scattered percussion. On the 700 Bliss track ‘Candle Light’, Moor Mother's distorted and doubled up vocal chorus evokes a frantic yet solemn energy as she speaks on themes of life and death.‘Grace’ is an EP constructed through deep feeling, transmitting vital dancefloor energy. It’s music is versatile, imbued with a strong will, personality, and colour.

After presenting Detroit Swindle’s sophomore album High Life in 2018, we felt it was the right time to serve you up a tasty selection of remixes from all over the world and all over the sound palette. We’ve got some dub and boogie from Australia and the Netherlands, classic deephouse from Detroit, dark and dreamy deephouse from the UK and some high energy house from Germany. This set of remixes comes from 5 artists we hold in high regard and have made a serious impact on their part of the scene; some recently and some already a long time ago.

We invited Dutch techno -plot twist alert!- legend Steve Rachmad to come up with a re-interpretation of ‘Yes, no, maybe (feat. Tom Misch)’. His Sterac Electronics remix actually has nothing to do with techno but is an uplifting modern boogie version of the already funky original. Glimmering electronics, some added harmonics and a tight 80’s groove is what this version is all about.

The A2 is reserved for Cinthie, who took the high energy afro funk track ‘Call of the wild (feat. Jungle by Night)’ and turned it into a full on house frenzy with solo’s all around and a groove that just keeps on going and going.

The A side is completed with a remix by Jura Soundsystem, who has impressed many of us with his balaeric influenced synth-boogie, and dub on his own label ‘Isle of Jura’. Here, he chose to remix ‘High life (feat. Lorenz Rhode)’ and has done an excellent job in re-imagining the track into a tamed down, dreamy dub.

On the flip, there’s Matt Karmil’s take on one of the album’s beatless tracks ‘Ketama gold’. He goes in deep with some dusty drums and an arrangement that keeps on building and building, keeping the chord sequence from the track’s outro as a main loop and adding subtle FX, toms and acid hits and a final delivery where electronic cowbells up the energy level by a notch or two.

We finish off the compilation with a moody deephouse re-interpretation of ‘Ex machina’ by Detroit legend Gari Romalis. The twisted machine funk of the original is craftfully replaced by a dusty house loop, dreamy pads and smart usage of the original’s drum effects to build momentum.

This remix package brings a lovely new chapter into the story of ‘High Life’ and we hope you’ll enjoy these reworks as much as we do.
Yours Sincerely,

Maarten & Lars.

rendon Moeller is an artist that needs no introduction. The South African born living in the US, like few of his generation constantly challenges himself with new concepts and ideas, has incorporated techno, dub, jazz, ambient, sound design, to his works throughout the years. Never chased the limelight, but instead the work, one idea after the next, one project after the other, restless. He has collaborated with labels like Echocord, Third Ear, Electric Deluxe, Prologue, Mord to name some. "Materialize" is his first work for Vibrant Music.
From his early days in various bands in the 80's and 90's, Brendon liked indie, shoegaze, ambient, moody, cinematic scapes.
With Materialize he came full circle, reaching out to his early influences, but with the knowledge and experience of many years of exploration of modular synths, to create a concept space that feels intimate, and at the same time vivid evoking visual imaging.
It explores the time space through a minimalist, stoic approach.
It tells the story of how we are all linked into this tree of music we call electronic music, wherever each one is coming from.
A celebration of life through the mind of one of today's scholars of electronic music.
A liberation from the strictness of tempo and metronomes, to reach to a more creative state.
Vibrant Music continuous the quest, to bring to you unique collaborations and sides of artists that we like.

SAFT is proud to present a re-release of a sought after disco classic from 1979. Carlos Romanos' 1-2-1 is without a doubt one of the highly regarding dancefloor classics from the heydays of the genre. With a length of 5.30 this brass infused stomper is club friendly, positive and drenching with Latin influenced percussion sounds.

As the original version has been available as a 7" as well as a 12" release, the new edition will appear on a 12" record only and includes a hypnotic 'Sotofett' formula dub on the B-side that spans ten minutes and maximises the percussive nature of the original to create a psychedelic voyage that builds and builds whilst generating a threatening atmosphere around the brass, vocals and perc hits of the original.

A roaring guitar gives 1-2-1 a bizarre but signature Sotofett treatment which shouldn't be missing from any adventurous record collection. 1-2-1 including DJ Sotofett's formula dub will be available from all specialised retailers from the summer of 2019.

Jacob Long’s reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass and Trees.
He describes the creative process as one of “simplifying things as much as possible,” designing uncluttered spaces traced in nothing but breath, field recordings, and “sounds that could be played by hand but weren’t.”
The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments – dub techno disassembled into stray pulses and spare parts. It’s a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness.
Long’s vision is a grounding one, rooted in the physical body but attuned to larger currents: “In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.
track listing:1. Existing Closer or Deeper in Space 2. Window, Skin, and Mirror 3. Spatial Ambiguity4. A Blank Slate 5. Living Space and Usually 6. Shallow, Shadowless 7. Less and Less

One of the UK’s finest home grown talents are back with new music on their own label since the release of ‘Late Night Party Line’

The killer lead cut ‘Big Wig’ takes us all the way to the late-night discos of NYC and right back to Europe via London and Berlin. It’s richly melodic, sizzling with promise and packed with PBR goodness, and easily their biggest record since ‘Late Night Party Line’.

The remix from Donald Dust adds some classic New Order-esque club sheen but fully updates for contemporary floors, while ‘Shooting Star’ with its nod to F G T H, is an equally incisive club burner which puts PBR right back where they belong, in the middle of the dancefloor.