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The Madlib Invazion Music Library Series Entry #12: DJ Muggs takes the Soul Assassins approach to source music - deep, dark, dank.

The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Das dritte Album von Marina Allen mit starkem und lebendigem Songwriting, wunderschön instrumentiert, hochmelodisch und mit einer unvergleichlichen lyrischen Perspektive vorgetragen. Mit zwei gefeierten Alben hat die in Los Angeles lebende Singer-Songwriterin eine frühe Ernte eingefahren, aber ihr drittes Studioalbum birgt den bislang größten Ertrag. Verglichen mit den anschwellenden Kompositionen von Allens zweitem Album Centrifics oder der unschuldigen Ruhe von Candlepower, ist die Welt von Eight Pointed Star tiefgreifender und offener. Schimmernende Gitarren verziehren die Canyons und Staub wird von der rot vernarbten Erde aufgewirbelt. Allens Gesang ist rein und kristallin, während die Instrumentierung reichhaltig ist und vor Helligkeit nur so strotzt. Man kann hören, wie die Musik Zufriedenheit ausstrahlt und der Produktion von Chris Cohen Raum für eine volle Band bietet. Allens künstlerische Zuneigung gilt vor allem Sängern, die ihrer Meinung nach wirklich singen können, von The Roches bis Karen Dalton, Joanna Newsom und Meredith Monk. Aber diese Einflüsse verschwinden wie Gespenster auf dem Dachboden, wenn sie selbst zu singen beginnt. Allen hat eine Stimme, die es mit dem Kanon aufnehmen kann - unnachahmlich - und sie hat noch nie so entschlossen geklungen wie hier. Ein strahlender, klarsichtiger moderner Klassiker des alternativen Folk und Americana. Für Fans von Aldous Harding, Fiona Apple und Waxahatchee. Klassich schwarzes Vinyl mit DLC oder Digisleeve CD.

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.

2024 Reissue

Limited Clear w/ Silver Splatter vinyl. 15 years after the band's debut album was release, Sargent House is set to do a special anniversary re-issue with updated artwork and limited-edition clear w/ silver splatter vinyl with Silver/Red foil jacket available. Upcoming tour dates include multiple festival appearances and a UK/EU headline tour in August. 12th Nottingham Rescue Rooms, 13th Manchester Gorilla, 14th London Underworld, 15th Bristol ArcTanGent. For Fans of Fu Manchu / Melvins. This the debut is being repressed. Red Fang is the formation of long time friends and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). Unleashed on New Year's Eve of 2006 in Portland, Oregon, Red Fang stormed out of the gates, introducing a sweaty, seething basement to a new kind of unforgettable fist-pumping, beer-chugging rock music. Since that night, the band has continued with the same intensity, energy, and intimacy to quickly become a touring juggernaut, playing shows all over the US with bands like The Melvins, Big Business, and The Sword, to name just a few. Residing somewhere between Black Flag and Black Sabbath, Red Fang recall a time when rock was more urgent and horrifying. Synthesizing a variety of heavy music influences into their own distinct musical identity, the band easily shifts from barn-burning punk to mid-tempo, hyper-distorted bass destruction all while maintaining a cohesive sound. Red Fang create gigantic rock songs that are easy to listen to (not easy listening, mind you) and qualify the simultaneous usage of both the thinking and the banging head, which are usually mutually exclusive. Their instrumentation is fluid and effortless, and the vocals are delivered melodically and forcefully, with enough rasp and effect saturation to fit nicely within the music. Paired with elemental imagery, the lyrics are immense and satisfying without any pretense.

Multi-talented US punk, Jeff Rosenstock releases fourth album on Specialist Subject Records (UK /EU) & Polyvinyl (Worldwide)! NO DREAM comes at a time of unparalleled chaos and confusion, division and despair, the depths of which would have been impossible to predict when much of it was being written over the course of the last few years. And yet the record feels prescient, unexpectedly and uniquely suited for this moment. Newly settled in Los Angeles after a lifetime on the East Coast (namely Brooklyn by way of Long Island), Rosenstock recorded NO DREAM with Jack Shirley (Deafheaven, Hard Girls, Joyce Manor) at Oakland's Atomic Garden, and even took on mixing duties alongside Shirley for the first time. Opting to stay off the computer "even more than usual" and record to tape with outboard gear, the result is a lived-in sound that gives each song its own individual voice and organic energy. After building a cult following with the acerbic ska-punk of the Arrogant Sons of Bitches and DIY heroics of Bomb the Music Industry!, Rosenstock's first proper solo record, 2015's We Cool?, was a step into uncharted territory, fully untethered from genre and expectation. Followed by 2016's WORRY. and the surprise New Year's Day launch of POST- in the early hours of 2018, Rosenstock was facing down that least punk of opportunities: a career playing music. Having taken some time away from his work as a solo artist to recalibrate and reset over the last year, Rosenstock stayed busy playing alongside Mikey Erg, recording and touring with the Bruce Lee Band, releasing a Neil Young covers record with frequent collaborator Laura Stevenson, reissuing two of his own out-of-print early albums, compiling a live album which was recorded during a run of four sold-out shows at Bowery Ballroom, making a 76 page photo book, and scoring over 80 episodes of the Cartoon Network series Craig of the Creek. In fully returning to his own voice, it's no surprise that Rosenstock's output has never been more eclectic, reflected across NO DREAM's 13 songs.

Recorded in 1975 as part of the "Cookhouse Five Sessions" by Minneapolis based funk band 94 East featuring superstar Prince.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

Repress!

Melody A.M. is the debut studio album by Norwegian electronic music duo Röyksopp, released on 13 September 2001 by Wall of Sound. The album reached number one in the Norwegian Albums chart. In the UK, it reached number nine in the country's Album chart, and topped both the Dance Albums and the Independent Albums charts. As of 2005, the album had sold 750,000 copies worldwide,1 with 454,271 sold in the United Kingdom alone.

Original pioneers of rare groove, PUSH, make a welcome return with an existing and exciting album. Originally released in 2004, now 20 years later it’s still alive and kicking. “Push People” is a cross pollenation of classic underground rare groove and contemporary feel good funk n' soul in the shape of heartfelt songs and incredible instrumental pieces. PUSH emerged from the underground London club scene in 1987, where they were at the heart of a community that thrived on JB inspired Funk, Blaxploitation soundtracks and raw soul-jazz. Push toured Europe and Japan and were regulars onstage at Gilles Peterson's legendary Dingwalls’ Talking Loud & Saying Something sessions. They have worked with the likes of Style Council's Paul Weller and Mick Talbot and have long provided the soulful foundation for the regular European tours of US divas like Candi Staton and Marlena Shaw. The triumvirate of key band members Crispin Taylor (drums), Ernie McKone (bass) and Mark Vandergucht (guitar) also doubled up as the rhythm section for the innovative Galliano – a conscious and wayward band that sold in excess of 800, 000 albums. PUSH are one of the mainstays of the Eighties Rare Groove and Acid Jazz scene alongside Brand New Heavies, Young Disciples and Soul II Soul. PUSH is on a mission, bringing a breath of fresh air and a wealth of musical experience into a very popular scene for people that "Feel the Funk!"

Eclectic Beats Music release number 6 comes in the form of a vinyl 7” single with two Latin broken beat cuts!
The A side is a collaborative remix from Born74 and Fradinho, twisting Jorge Ivan Martin’s original track “Yo Tambien Baile La Conga” into a broken beat remix, enhancing the Latin flavours with a dance floor direction, topped up with Frank Santiuste’s trumpet solos.
On the B side, Fradinho digs out one of his earlier unreleased Latin tracks and gives it a broken beat flavour, with a Funk fusion through the bass line and synth solos and brass hits.

Jorge Ivan Martin bio

Cuban musician, composer, arranger and music teacher, Jorge Ivan Martin, spent 13 years teaching Tres in Cuba.
He is now based in Spain and still lectures at some universities in Madrid.
As a musician, Jorge blends Bossa, Reggae, traditional Cuban music with Jazz and Funk and is a Latin Grammy nominated artist with several other nominations and awards.
He has collaborated with a plentitude of Latin artists and also invited the trumpet player Frank Santiuste to add some flare to the Born74 and Fradinho remix on the “Latin Broken Beats” release.

Born74 bio

Andrew Nicholas, known as Born74, delves into the fusion of funk and Nu Jazz.
His music has been released on various labels such as Tru-Thoughts, Acid Jazz, Eclectic Beats Music, Ramrock Records, and Colin Colin presents.
Born74 has collaborated with Arema Arega (Havana Cultura), ONJ (jazz re-freshed, Tru-Thoughts), and Mark Norton (The Fantastics, BBE Records).
Additionally, Born74 is a member of The Earthsouls.
Noteworthy remix credits include Str4ta (Gilles Peterson), Nimbus Sextet (Acid Jazz), and Fradinho (Eclectic Beats).
Born74's tracks have been featured on jazz compilations like Jazz Dance Fusion (Z Records) and Sol Vibrations (MJDC).

Fradinho bio

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.
Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.
Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.
Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

Elusive Italo duo Maurizio e Dandolo return with Demin, a dreamy disco dancer celebrating the iconography of 1980s Italian summer and the heydays of Italo Disco.

Unfolding over an equally suave and hard-hitting tapestry of synths and drum machine, Demin plays with the authors’ nostalgia for the hazy and sun-drenched summers on the Italian eastern coast of their hometown of Pescara.

In the unmistakable and unmatched tradition of Italo Disco, Demin strikes a balance between the irrepressible desire to let loose on the dancefloor and the touching nostalgia for a past that, perhaps, was never lived but only dreamed of. That of the halcyon days of Italian design cars blasting synthy bangers from the radios, beach establishments with their candy-striped umbrellas, neon-lit discotheques and dancers in outrageous designer shirts, teenage flirts, and denim bracelets, the true icons of that era which Maurizio e Dandolo tribute in the song title.

Demin is set to become one of the ultimate dancers of the summer of 2024, an anthem for cheeky disco riviera flirts and boogies.

After being originally released on digital platforms, Demin is now finally out on 7” vinyl format too, accompanied on the B-side by an unreleased scratch version: a dub mix by Rome DJ and establishment Francisco.

2024 Reissue

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Score by Danish composer Jesper Kid (‘Assassin’s
Creed 2’, ‘Borderlands 3’, ‘State of Decay 2’,
‘Warhammer: Vermintide 2’) and American
composer Sarah Schachner (‘Assassin’s Creed:
Origins’, ‘Call of Duty: Modern Warfare’, ‘Anthem’).
“‘Valhalla’ marks the first time the two of them
Sarah & Jesper have worked together, and the
sheer size and scale of the Viking-themed
soundtrack is all the better for it.” - spin
Double LP with Red with Yellow Splatter (LP1) and
Teal with Black Smoke (LP2) coloured vinyl in a
gatefold sleeve with printed inners.

In an inspiring collaboration uniting artists from different corners of Europe and the Middle East, Palestine's Muqata'a, French-Irish Zoë McPherson, and Lebanon's Rabih Beaini have merged their creative forces to remix the Belgian/Iraqi band Use Knife's influential album 'The Shedding Of Skin'.

'Peace Carnival', released on Berlin’s Morphine Records, challenges the narrative around peace through its percussion, glitches, distortions, and Muslimgauze-esque minimalism to critique and rethink perceptions of justice and freedom.

This year, Carnival's usual satire and mockery should be directed towards the so-called and one-sided definition of 'peace'.

Forest Law's debut album, "Zero," is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK- styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer.

Released in collaboration with the UK home for jazz and electronic sounds, Total Refreshment Centre, Zero is Forest Law’s first release since his debut EP on Brownswood Recordings four years ago, marking a new and exciting chapter for the up-and-coming talent.

Crafted over seven years, "Zero" is deeply influenced by Law's experiences, from immersive stays in Porto where he delved into Portuguese music to an artist residency in a remote Icelandic fishing village. The album was finished, and recorded in his garden shed in Romford, East London. It’s a beautiful juxtaposition about a boy from Essex, who fell in love with international music, discovered the world, and then produced a musical treatise about his adventures from his shed.

A bit more than half a decade on from his widely acclaimed debut Vanishing Points from 2018, Swiss guitarist, composer, and improv musician Manuel Troller releases his new record Halcyon Future. A rhythmically dense and ambiguous, yet joyful ride for unstable times, a plea for warmth and hopeful resistance.

Troller’s mode of incorporating, zooming in, and expanding on small elements from improvised sessions creates a multilayered work of driving rhythms and abstract, vibrating textures. Opening with Halcyon Future I’s distinctive open pulse, this first piece guides us through subtle harmonic shifts that are almost unrecognizable as they take place over extended time, overlapping and creating a sense of ambiguity until the piece reaches an almost optimistic level with Mario Hänni’s unexpected introduction of driving acoustic drums. Relentlessly and with increasing excitement, heavy electronic 80s bass drums and an armada of layered hi-hats push them on, leading to the all-incorporating melodic finale.

The two long pieces Halcyon Future I and Halcyon Future II focus on forward momentum. In between them stands DNA, a purposely directionless contemplation on emotion as such. It is raw, naked, and confrontational, with a tender and subtly changing chord progression creating intimacy and proximity, abstraction and warmth, like a beautifully vibrant hologram for the listener to walk around in.

The B-side with its 20-minute Halcyon Future II features playful futuristic guitars, enhancing and challenging the stereo image that Troller is already well-known for. As it’s given time to develop and take root, the ever-varying guitar interactions densify and the staccato patterns jump out of the speakers with joy, creating excitement and building momentum. Compared to Side A, things turn to a slightly more complex rhythmical, melodic, and harmonic feel here. There are easy references, such as Manuel Göttsching’s E2-E4 or Pat Metheny performing Steve Reich’s Electric Counterpoint, but Troller goes a different and very much more concrete way. Although the piece has been recorded in various places and through a long process of overdubbing, there is an astonishingly strong live feel to it, from beginning to the end, from the slow rise to the full spectrum and the almost krautrock-like finale. Improvisers Hans Koch on soprano saxophone and Michael Flury on heavily fuzzed trombone join in, while Troller and Mario Hänni on many guitars, bass, drum machines, and acoustic drums provide a joyous driving entity, not giving up until it all breaks down again. There is overkill and brute force, though never without depth and a vision of future.

In the musical scope of Halcyon Future, there is no need for an absolute definition of things. A continuously changing interpretation of repetitive and variable elements fading in and out of focus tells a story of an excited sense of acceptance. Feelings of transcendence stem from Troller’s layering of constantly shifting rhythmic structures with unforeseen improvised harmonic changes. Drum machine parts overlayed with acoustic drums shift between musical modes, anchoring the album on the verge of a jazz-influenced, motorik, post-ECM balearic plateau. Abstract textural elements gently swirl around and behind all that is rhythm, providing a submissive counterpoint. As with much of Troller’s work, Halcyon Future is an album that unfolds slowly, revealing more of its richness, detail, and subtle beauty at each listen.

Halcyon Future is a joint release by three:four records and meakusma.

Eastside Edits strikes again with two DJ friendly versions of 1976 chart toppers! Their 7th release features
two tracks from the talented Greek DJ/Producer/Remixer, DJ S! DJ S returns to the classics with two
70’s dancefloor weapons guaranteed to get the party started!

SIDE A) “Moves At Midnight” takes an all-time Disco favorite and updates it for 2024 with chunkier
drums and a steady, mixable groove. All the feel of the 70’s original without the clumsiness of mixing a
70’s 45. Disco perfection from DJ S!
SIDE B) “Lay Down That Boogie” breathes new life into a 70’s Funk/Rock staple. This funky edit adds a
DJ friendly intro, subtle arrangement changes, and chunkier drums, all without losing that original 70’s
feel. Another very tasteful edit from DJ S!