Search:fine place

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

A chance sequence of events lead to Tenderlonious, getting his hands on Tubby Hayes' Piccolo, resulting in this outstanding re-interpretation of four classic Tubby Hayes tracks. Featuring some
of London's finest jazz musicians, with the hope to introduce a whole new generation of jazz fans to a true great of British jazz.

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

The Garden is another timelessly classic album from a seminal electronic band and an essential soundtrack to any laidback listening.

To coincide with the announcement, the pair have shared a video for the album’s title track directed by Sam Davis and Tom Andrew, who has previously received two UK Music Video Awards nominations for his work with Avery. Speaking about the video, Andrew explains, “We were keen to capture a visual representation of the tempo and atmospheric emotion of the track and make a video exploring the notion of collaboration. A super-motion approach allowed us to explore details of motion shared between two people, in tactile actions of aiding and supporting.” Cortini adds, “The video embodies the volatility and hidden nature of the music’s subject and meaning. A meaning that is ultimately personal and unique the listener/spectator.” Watch the clip .



Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation. The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival and Mount Analog in Los Angeles, and Phonica Records in London. Both tracks are included on the album.



“It was very much a shared process”, notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”



“I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”



The collaborative album follows Avery’s second record Song For Alpha, released in early 2018, and last year’s expanded edition B-sides & Remixes. Mixmag called the sophomore LP “A beautiful maturation of Avery’s work as a producer,” while The Guardian hailed its “Majestic, cavernous techno” and Loud & Quiet praised Avery as “A producer fast approaching the peak of his powers,” “This album cements Daniel Avery as one of the best,” wrote DIY. The London-based producer will perform at BBC Radio 3’s Unclassified Live on April 3rd, a new series of concerts in the Southbank Centre's Queen Elizabeth Hall presented by Unclassified host and presenter Elizabeth Alker and conducted by André de Ridder – tickets are available here. Avery has also just been announced in the first wave of acts for London festivals Re-Textured and the inaugural Wide Awake, taking place in April and June respectively.



Cortini released his most recent solo album Volume Massimo on Mute in July 2019, following Fine, the Italian artist’s final album under his SONOIO alias, which came out the previous year. The Quietus called the former “an album that showcases just how much Cortini‘s aesthetic has developed since his early days,” while Exclaim! hailed it “a melodic exploration of textures and layers … an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer.”

First Word Records is incredibly proud to present 'Starts Again', the debut album from Tawiah.

The latest signing to the Worldwide Award-winning indie label, Tawiah is somewhat of a trailblazer in the world of alt-soul. Despite this being her debut album, she's long-established in the UK music scene, having previously self-released two EPs and a mixtape, as well as high-profile collaborations with Cinematic Orchestra, Blood Orange, Mark Ronson, Kindness, Cee-Lo, Wiley, Zed Bias and Eric Lau. Additionally being championed by the likes of Zane Lowe, Gilles Peterson and The Guardian, and supporting Moses Sumney on his recent EU tour, it's finally time to unleash a full solo project into the world.

'Starts Again' is an exploration of her identity as a queer woman of colour, raised in a pentecostal family, and a determination to express her musicianship in all its raw glory, free of the constraints of major label wrangles from before.

Co-produced with Sam Beste (Hejira), the album also features vocals from Sharlene Hector, Vula Malinga, Ladonna Young, Ade Omotayo and Rahel Debebe-Dessalegne, as well as glorious string arrangements composed by Miguel Atwood-Ferguson, with a series of field recordings from Ghana, amongst the varied components.

In Tawiah's words; "the process of creating this record independently has taken years!! From self-produced demos to live recording sessions with my good friends; Blue May, Sam Beste, Alex Reeve, Alex Bonfanti, Nathan Allen and Lewis Wright. Sam and I then had two years of long joyful studio sessions working on the post production. With no external deadlines or briefs we had the freedom to create whatever came. It was a privilege to collaborate in this way".

A triumphant 10-piece opus, the music seamlessly blends avant-garde sensibilities with low-slung beats and layered harmonies. The vestiges of Tawiah's early church vocal training contrast subtly against a distinctive South London accent, which has helped place her firmly at the vanguard of the British alternative soul movement, and establish a rep as one of the country's most exciting live performers. Time Out even saying "she slays so hard, you better hope there's a doctor in the house".

With a series of immersive live shows being planned in collaboration with spatial artist, Studio Myrrh, the latter half of 2019 headed into 2020 is looking to be a busy time for Tawiah. A decade on from her debut EP, 'Starts Again' is a creative reset of-sorts, though she is already highly revered within the music industry. A unique talent, this debut album should rightly cement her status as one of the UK's finest recording artists and songwriters.

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

KiNK presents Home! This aptly titled EP is the debut release on the newborn label Sofia. Founded by Strahil Velchev and Konstantin Petrov, Sofia is not only the physical location where this music was made, the city where they met and developed as artists, but also a paradox that is reflected in the art and music that comes from the place. Beautiful and ugly at the same time, clean and dirty, brutal as well as romantic, it’s a place where aesthetically seemingly incompatible styles come together in a twisted, yet unifying form. The photographs for the sleeves are made by influential local selector DJ Valentine, effortlessly capturing the local reality.

Those pieces of a paradox also are reflected in the music. The typical fine-grit of KiNK’s production skills meets his love for the elements of surprise and the classic building blocks and plaster of house and techno to create something that is very much his own, while breathing the spirit of early days and pioneering times. Hinged just before and after peak time, the tracks on this EP are cohesive, made to last and rounded off by the contemplativeness of yet another collaboration with Rachel Row called „The Beauty“. The first of many to come. And as always: Remember the future!

After S3A's "Pages" double album earlier this year we asked some of our friends to re-interpret and re-construct their favorite original track off the album and deliver these fine remixes. We aimed to have a nice variety in styles on this record and hope you enjoy these tunes as much as we do!
Starting off with the live disco funk of "Lorenz Rhode" who sets the tone for a class dance floor EP and followed by the soulful deep house vibes of French master "Art Of Tones" aka "Llorca" who delivered 3 different mixes to this release. The main mix is on the vinyl and there are two bonus mixes added to the digital release, a "Beats" and a "Dub" version. Ending this brilliant first side is London's newcomer "Dampé" with that deep and jazzy electronica approach we got to love him for on his first debut Dirt Crew Recordings release.

On the flip we pick up the pace and present you the faster dancefloor tracks of Amsterdam's "Nachtbraker" with his freaky hallucinating sounds placed atop of one of these irresistible bass lines only he can come up with and leading towards an "end with a bang" in best Detroit ghetto house style by our own Icelandic fire "Felix Leifur".

Each artist perfectly transported his own unique styles into these tracks and we hope this release with its broad approach will serve any dance floor to its best!

In 1985, I started working as a sound engineer in the famed Far Studios of German hit producer legend Frank Farian in Rosbach near Frankfurt, and there had an array of gear at my disposal that not many producers could afford, and know how to use in consequence. In the center a high-end Neve studio desk, but also the finest machines created by mythic brands like Linn, Kurzweil, Publison, or Quantec. Confronted with this considerable amount of opportunities on a daily basis, I soon decided to use what I was surrounded with for my own musical ideas, and started experimenting with it in my spare time. My perception of sounds quickly surpassed what I had known before. The equipment offered me many possibilities to position sounds within a song and I learnt how to compose by filling up all the places in between the speakers. There was not only left and right but near and far as well, and even up and down. My preferred perspective grew to be that of standing in front of the speakers, "looking down" on a song from a slightly higher position. The material was recorded on analogue reel-to-reel audiotape, which I subsequently edited and deconstructed manually with a razor blade, an edit block and a roll of audio splicing tape.

On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.

“Ta Da” is the debut full length from J. McFarlane Reality Guest, the collective name for the trio headed by the eponymous McFarlane. As a member of the group Twerps, McFarlane has traversed guitar-centric, melodic pop music for some years while honing a highly unique, personal musical language. Ta Da is the first recorded unveiling of McFarlane’s affecting, oblique songwriting panache. Originally released in her native Australia on Hobbies Galore, Ta Da will be released worldwide by Night School in June 2019.

Wheezing into view with a troubled reed instrument set against a s of whoozy synth lines, Human Tissue Act is a foggy curtain the listener is invited to peel back. The dissonant notes are left to dance entwined, with clarinet heralding a Harry Partch-esque mallet percussion interlude. It’s a mood. With no resolution in sight, an audience dragged closer into uncertainty is suddenly drenched with the light of inter-weaving wah wah synth and saxophone. I Am A Toy introduces us to McFarlane’s vocal, an effortless and matter-of-fact, accented statement that quietly takes the reins. While McFarlane’s previous work in Twerps might reference 80s UK and antipodean guitar pop, Ta Da showcases a different influences immersed in psychedelic music and synths. It’s a brilliant, deft concoction swimming in Young Marble Giants-type minimalism washed with bare pop and harmony similar to Kevin Ayers making sense of a Melbourne suburb full of faces half-recognised in the blanching sun.

What Has He Bought begins with a Casio-keyboard rhythm pattern, palm-muted guitars and immaculately enunciated vocal give way to a burnt melodica part that elevates the spirits. Simple patterns repeated, like a well-tempered pop song that does what it needs to do and no more, build into the sound of summer leaking orange juice. They’re moments of joy, layered on top of each other like a melting cake. Do You Like What I’m Sayin’ recalls Marine Girls covering a classic ‘66 Garage nugget, organ lines fighting funk with guitar chords played just behind the percussion. “In a talking world, meanings are the same. Words want to hold on to the people they contain. Do you like what I’m sayin’?” We’re in a Beckett play perhaps, obtuse absurdities rendered pretty. Alien Ceremony is a heart-melter, given a melancholic timbre by bowed double bass it’s a tragi-comic piece that almost reeks of Robert Wyatt at his mid-whimsical twisting a fugue completely out of shape. Beneath the layers of harmony and twinkling instrumentation you sense there’s a genuine sadness somewhere even if it remains veiled.

Through out Ta Da, McFarlane plays with counterpoint and contrast to sometimes delirious effect. On Your Torturer, a simple, upbeat chord progression is hard panned, underpinning a flute solo which seems out of place, hence making it completely in place on this warmly surreal album. My Enemy is a slowly swinging eulogy to a failed relationship punctuated by analogue synth burbles, with our protagonist simply asking, in the aftermath, “can we be nice?” Here McFarlane’s vocal is straight forward, lyrically conversational but still not completely in focus, a surreal kitchen sink drama filtered through a dream where everything is in the wrong place. It’s a fine precursor to Heartburn, which similarly borrows BBC Radiophonic Workshop-style noise synths and the use of space to carve up the simple “You Will Make My Heart Burn” line. At this point, the listener has been in such close proximity to McFarlane’s show, the reality guest in a performance where they’re the sole audience member, that when Where Are You My Love rises on the horizon as a sleepy, psychedelic send off it’s uplifting. The vocal drifts away into the sunset, simple and direct. It leaves the listener slightly confused, perhaps, but grateful for the gentle surprise.

This is the companion to Disco 3000, made on the same classic Italian quartet tour with John Gilmore, Michael Ray (trumpet) and the minimal but perfect Luqman Ali (drums). Ra himself plays piano and electronic keyboards, including the mysterious Crumar Mainman, which Ra describes as 'like a piano, organ, clavichord, cello, violin and brass instruments' and which also, importantly, has a facility for pre-programmed bass-lines and electronic percussion, which Ra uses constantly and to great effect in this small ensemble setting and seldom, if ever, elsewhere. The best of this collection (most of CD1) is luminous: very electronic, often rhythmical and melodic, always economical and making every sound count. These tracks are like no other jazz ensemble and, although recognisable as Ra - who else could think of, and then get away with, this - unlike any other Ra ensemble either. Ra makes the machines do amazing, visionary things while the band exercises restraint, remaining always in focus. In between, there are piano, saxophone, trumpet and drum vignettes, fresh and perfectly judged; this real was a fine band. This places the original vinyl release (and related releases, Sound Mirror and Disco 300) back into the context of the concerts, from which they were drawn. An important addition to the Sun Ra canon, since it is a rare document of an unusual Ra project that produced three classic late '70s LPs. Beautifully packaged and well annotated.

The new album by Juno Award and Polaris Music Prize-nominated Canadian soul star Tanika Charles.

Produced by a stable of some of Canada's finest musical minds including among the others Chin Injeti (DJ Khalil, Eminem, Drake, Aloe Blacc..), Record Kicks proudly presents "The Gumption" the awaited new album by Canadian soul star Tanika Charles that will hit the streets worldwide on May 10.

"What gave you the gumption?" Tanika Charles rhetorically asks during the introductory notes of her sophomore album appropriately titled The Gumption. While the apprehensive lover at the receiving end of that inquisition should feel slighted by the remark, it also alludes to the assuredness Tanika has gained since the release of her Juno Award and Polaris Music Prize-nominated debut Soul Run. The Gumption picks up where Soul Run left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. "It's a little more mature. It's not feeling guilty about being up front, not being afraid to address situations that aren't comfortable for me. I'm comfortable in my skin now in a way I never was before. The overall theme is growth. I feel the music reflects that, and my words reflects that. Even the album cover tries to convey the feeling too. I'm not putting up with unnecessary nonsense anymore."

Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, The Gumption was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D'Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs. "I've grown up and learned to deal with situations significantly better. We have a tendency to hold back our innermost feelings for fear of hurting others. Even when we're happy we worry about over-sharing, as if joy is a competition you don't want to gloat about."

The success of Soul Run propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe. "I've been touring, experiencing new places and meeting new people. And in that time also worked on completing this album". While criss-crossing Canada with festival appearances on both the east and west coasts, Tanika also embarked upon four overseas tours for a combined 45 European shows within a one year period. This included performances at the prestigious Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain.

Next up on LOVEiT is head honcho JK himself, presenting a fine Reminiscence to 90s french house on the A1. With his remix, italian Jo Pariota transforms the title track into a veritable detroit house groover by adding warm pads and driving hats. JKs B1 is a moody deephouse affair including jazzy keys and a thought provoking spoken word sample by a certain saturn-visiting cosmic poet. The Rare Sun Recall Mix by .WS takes you places: riding out on an uptempo tribal beat, it slowly starts to fall apart before vanishing into ambient bliss. - morri313 Early Feedback: Lay Far (Atjazz Record Company / Local Talk / 4 Lux) Congrats on the release! Loving the 'Being Neglected As An Artist

The beating heart of our annual summer gathering, Subsonic Music Festival, is the Paradiso stage from which this EP takes its inspiration. With a soundtrack from some of our favourite underground international & local artists, this EP represents just a slice of that unique place. On the A-side is the always incredible and globally respected Alexkid & the man of the moment who is making huge waves after an amazing year of releases, Stephan Bazbaz. On the B-side we go deeper with some of Australia's finest boy wonder Retza and the sophisticated minimal grooves of Katie Drover.

Double LP on heavyweight 180 gram audiophile black vinyl in a wide spined sleeve with new artwork layout. Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Includes a bonus track not on the CD version and new artwork design. Never has a record been so aptly titled, or so perfectly descriptive of a band's particular vision of the universe. For all that, the original appearance of Taking Drugs was in fact a bootleg on the semi-legendary/semi-notorious Father Yod imprint in 1990, later supplemented with contemporary outtakes and cuts for the Bomp reissue in 1994 and one further song for the Space Age version in 2000. The original seven tracks, dated January 1986 and the first recordings to feature Pete Bain on bass, are collectively known as the Northampton Demos, understandably named for the recording location in a studio outside said English city. Both Sonic and Pierce have been on record as long preferring these takes to the eventual versions that surfaced for the most part on Sound of Confusion. Certainly it's a fine set of performances, showing a definite step toward the more familiar sound of the group and away from the rougher takes on For All the Fucked Up Children of the World. "The Sound of Confusion," aka "Walkin' With Jesus," rips along with fierce energy, Pierce's singing and the rampaging, primitive wail and rumble of the band just wonderful. "Losing Touch With My Mind" takes things to an even higher level, a huge wallop of feedback and beat (Natty Brooker's drumming in particular delivers just what the doctor ordered), Pierce delivering the lines with a flat, cutting drawl. On the slightly lighter tip, "Come Down Easy" is more or less fully in place (aside from singing about it being 1986!), possessing a more upfront but less vocally distinct feel than the Perfect Prescription take. The tracks that surfaced on the later reissues come from a variety of different sessions, including the original take on "Feel So Good" and a good live version of "Things'll Never Be the Same," one of several cuts featuring Brooker's drumming replacement Rosco.

This Geneva-based band have finely honed their instrumental "post-internet groove", creating the perfect blend of old-school funk, afro-beat, 70s soundtrack fusion, always adding a pinch of futuristic production and a touch of modernity aimed at bring the groove genre to new generations.

Side A, 'Funky Splash' is an original composition, understated in its groove but with the punch and crunch falling in all the right places, hence can be enjoyed either stewing in the background or as a dancefloor filler. The wah-wah and off-the-wall synths are both used to great rhythmic effect.

Side B, 'O Caminho do Bem', is a cover version of the Brazilian musical heavyweight Tim Maia. Always hard to revisit a classic, but L'Eclair's tight musicianship, perfect pacing and futuristic twist all add an extra layer of groove onto the mellow funk of the original.

Another slice of immaculate sounds for the ears and feet from Switzerland's finest export, Rocafort Records.

The rising London based label is quickly defining his own and unique sound laying down the law with another live jam recorded 4 tracks release by his own boss DOTHEDU.Following the success of the first release, Senseverse Records has came back with Lost Acids EP, a rough lost minded trip with an unusual sense of refinement. The producer lets the trip's curtain rise with Lost Acids which takes us to a gloomy hidden place on the edge of the house and techno roots with a banging 909 and crescendo 303 which dives smoothly into the background own producer's voice, Colombine Acids explores the happier stage of the trip and keeps the sound on the thin line in between the 2 genres with his fat kick and the flying and clashing crashes.
The B1 throws us right back deep into the dark with a slowed down and mentally twisted remix by the very well known producer Florian Kupfer. Finally Early Acids rings down the curtain's trip with some fine classic house music sonorities that lead us to a dreamy and dancy closing.

After A 20-year Hiatus, Respected 90's D&b Imprint Odysee Recordings Launches Its Return With A Digital Re-master And Remix Of Bewildered. Originally Released In 1995 (ody04), This Track Featured On The First E.p. Under The 'mirage' Moniker, A Collaboration Between Jim Baker (source Direct) And Odysee's Founder Tilla Kemal (t-mirage).

The Original Is A Classic Example Of Mid-90's 'intelligent' Drum & Bass, From Its Warm Bed Of Strings And Sweet Vocal Ad-libs, To Its Crisp And Curling Drum Programming And Deep Subs. This Track Clearly Demonstrates An Exquisite Blend Of Jim's Celebrated Production Style With Tilla's Keen Instinct For Placement Of Abstract Soundscapes, Which Was Instrumental In The Development Of The Source Direct Sound.

On The Other Side Is A Modern D&b Take Engineered By Andy Odysee. This Remix Manages To Successfully Tread That Fine Line Between Faithfully Preserving The Vibe And Flavour Of The Original, Whilst Simultaneously Lifting The Tempo And The Potency Of Both The Drum Programming And Bass-line Work In Line With The Modern D&b Sound. Andy References Much Of The Original Break Work, Sample Selection And Arrangement, But The Undulating Sub Punctuated By Torn Synth Falls, And The Punchy Kick & Snare Give The Track Its Modern Twist.

After their psychedelic tour to Alice's Wonderland on their adventurous second album, CRuNCH 22, the Tel Aviv based Rhodes, turntables & drums power-trio, is back with "LUSH FLUSH", a fiercer than ever EP of raw, in-your-face grooves.

Opening track "Cairo" places a persistent Egyptian orchestra sample on top of a Led Zepplin-styled heavy beat; "Osaka" sounds like an early 2000s indie-pop with vocals sampled from a japanese folk song; "Baba" fuses Middle Eastern leads with broken beats; "Minderbinder" is a quirky afrobeat and "Young & Happy" is an odd metered pseudo-house track. While this list might seem as eclectic as you can get, the band's unique instrumentation and live playing style manages to make it sound completely coherent.

On the flip side of this 12" vinyl are three remixes by some of Israel's finest producers: Markey Funk's space-rock version of Cairo; Mule Driver's techno edit of Baba; and Obas Nenor's house remix of Young & Happy take these tunes deep into the dancefloor, making the "LUSH FLUSH" EP an important tool in any DJ's arsenal.

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

2023 Repress Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”; the heartfelt tales and truths of “Welcome To The Ghetto”; and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive; “1-800 Spice” brings reggae flavor; and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

In recent years the clamour for the funkier side of AOR, Blue eyed soul, funky rock or any other description you'd care to imagine has reached heightened places. The hardest diggers have been endlessly searching for breezy, soulful and rock-infused R&B gems hidden away in the recesses of the major and independent label archives. Miami's CAT Records - one such independent, and an off-shoot of the hugely successful TK Disco empire had made it's mark since the early 70's with stellar sides from Little Beaver, George & Gwen McCrae, Raw Soul Express and many more. It was later, 1977 to be precise, in the height of the Disco era when Chocolateclay appeared. Their self-titled and sole LP has long been a thing of sought after beauty, a real Miami rarity that showcases a classy blend of funk, soul and AOR stylings delivered by the solid pairing of George 'Chocolate' Perry and Clay Cropper. Perry's name is well known among rare soul aficionados due to his involvement in some classic underground records from that scene (Wizzdom 'I'm So In Love With you' etc) and his part in writing, producing and arranging for artists like Blowfly, Milton Wright, King Sport, Bobby Caldwell, Latimore, Joe Walsh and many more. Cropper was also well known as a solid Miami session man who played keys, wrote and produced for a plethora artists from that part of the world throughout the 70's and 80's including Betty Wright, George McCrae, Frederick Knight and more. To say these 2 guys were seasoned pro's would be an understatement. No surprise then that their contribution to the CAT catalogue is a finely tuned, funky, sunkissed LP of jams that will bring unlimited joy and warmth to you via your turntable. Languid, melodic, grown-up soul music here folks, drenched in that sunshine state goodness. Oozing positivity and class - Chocolateclay is as deep as it gets. Often selling on-line for tidy sums (£60 +) this LP is a true gem, now is your chance to own a %100 legit, TK Disco sanctioned, vinyl copy of this killer Soul LP. Re-issued just the way it originally came out in 1977, no tricks. Essential!

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

Tenderlonious led jazz outfit Ruby Rushton drop their second album of 2017. Following on from the success of 'Trudi's Songbook: Volume One' the band are back with their highly anticipated 'Volume Two'. Comprised of a further six cuts the listener is treated to another journey through modern day jazz!

Stand out tracks include "Tisbury Truckin", which is a stunning opener! Starting with an atmospheric soundscape it unexpectedly drops into a neck-snapping hip-hop groove with a punchy melodic line before effortlessly sliding into an up-tempo, afro-beat inspired rhythm with strong solos from trumpet and keys in tow. "Song For Christopher" is a heartfelt ballad, which begins with a touching flute solo and continues to take the listener on a journey through the emotions, ending in a crescendo of optimism - a fitting tribute to the late Christopher Rushton.

"Charlotte Emma Victoria" is another strong track and includes some tasteful sousaphone and trombone parts to add extra oomph to its bounce, accompanied by a soaring saxophone solo by band leader Edward Cawthorne (aka Tenderlonious). The album ends with a classic Herbie Hancock jazz-fusion standard, "Butterfly", which the band handle with finesse. A fitting cover that I have no doubt would impress its original writers.

'Trudi's Songbook: Volume Two' is a fantastic album, which further solidifies Ruby Rushton's place on the modern jazz scene. This is a must have album that would hold its own in any jazz enthusiasts record collection - make sure you check it out!

For the label's 50th release, Emotional Rescue returns to the music of Woo to close a trilogy of reissue collaboration albums, in A La Luna. Following Whichever Way You Are Going (1982) and Into The Heart Of Love (1990), their opus A La Luna (1991) was the last of the bands song based albums and represents a wonderful way to close this association.

Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released.

Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, A La Luna flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting.

Featuring the original vocal performance of Mark's love ode, Magic In The Dark stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey.

The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ive's brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Silencio celebrates the first year of the label with a double-pack vinyl aptly titled Uno.
Comprising of new and established artists, the tracks on Uno collectively summarize the the feel of this label's year, while giving us a hint of what to expect in the year to come.
Click Box & Stefan Dichev kick off the release with 'Memories'. Presenting a collaborative production that will prove over and over again why sound is one of the strongest senses tied to memory. Engineered with emotionally responsive rhythms that roll into a rocksteady baseline, this track evokes feelings with finesse. "Memories" also features funky squiggle sounds and trailing even-tempered tones to punctuate its procession. This is one you'll want to relive every time the opportunity arises.
New comer Wave Particle Singularity has done it again. 'Virtue' is a tremendous track that will quickly establish itself as one of your new favorite things. The drum sequence, accented by beguiling background sounds and curious vocals, gallops throughout this selection with all its feet off the ground together in each smooth stride. Plus, it also comes fully equipped with a pleasingly unpredictable pace in the form of some moody, well-orchestrated changes that result in a perfectly adjusted attitude. Never a dull moment on the dance floor.
Guaranteed.
Kepler.'s latest offering 'Tool A' possess all the qualities one would normally associate with a fine wine because the taste left on the palate after its consumption is both complex and satisfying. During its ascent, effects that compress a thousand echoes into a single sample ride alongside an active baseline that ripples accordingly. Subtle, flavorful snippets bleep and bloop in complete balance, giving this cut a coordinated, contemplative vibe that brings everything into focus.
With his first track on Silencio, Yuuki Hori's 'Scene 5' is truly a unique item. This electromechanicaly exotic sounding export from Japan makes an impression with layers that are neatly stacked and minimal to the max. Its main feature, a sample that seemingly mimics the mating call of a male bullfrog, rhythmically ribbits in harmony with the beat, bellowing over the entirety of this track. All the various elements of this composition come together in a natural way that feels symbiotic and sounds superb.
Another Silencio first, Jorge Ciccioli's 'TD8' has a deliberate intention to create momentum, with a deep, penetrating baseline that rises to the occasion by descending the darkest depths of its own digital horizon. In the midst of the mix the listener is greeted with a clever chorus that effectively sounds like air vibrating, or in layman's terms "blowing", within an empty glass bottle. As it goes through the motions, observe how every note is noticeably nuanced in an effort to reflect the subtle changes that take place.
Closing out the release and year for Silencio, is Laughing Man with 'Reach Out'. Hard, heavyand heavenly are all terms that could be used to express the sentiment of this selection.
Notice how right from the get go this production profoundly pounds out its agenda with a solid, speedy beat that relentlessly rocks throughout the recording. Accompanied by aseries of wavy, spirited vocal layers, ringing bells and an inspired intersection of cymbals,this track is one hell of a ride that will enable you to make contact with the other side.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Solid, powerful and eclectic... Skudge has yet again delivered a fine remix 12". This time around we've got Blue Hour, whose slamming production work on his own, self-titled label has been delivering some of the finest techno in recent times. Blue Hour's remix is featuring on the A-side, where a pumping and pushing reinterpretation of 'Hunted' takes the lead. For the B-side, Skudge invited Parisian and underground House music purveyor Brawther, who literary beefs up 'Below' with his Steroids Mix. Fine tuning the original's core elements, while adding his special mix of rugged and dusty grooves with an updated sense of modernism: a perfect mixture of both House and Techno, a place where Skudge are coming from.

Phonogramme welcomes Alex Notal (Sistrum). Finest French artist. All tracks done @ Redbull studio.

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side.

Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time! We warmly welcome the Dutch duo Dennis Pors & Stephan de Bruijn to OrbisX. New fresh talent, ready to conquer the world. We feel obliged to support these
fine gentlemen to get their music spread across the globe. Dennis & Stephan know each other through their musical perspectives.
They share a similar taste for music, Detroit techno. Before they worked together, Dennis experimented with deep house through digital synths and learned the ins and outs of programming music in Logic.
Stephan was well known with the detroit techno scene. His passion goes out to well balanced electronic music with hypnotizing emotional feeling to it. Add a layer of atmospheric grooves on top of that and you have the perfect blend to potential timeless music.
Soon enough they made the switch to analog gear to be able to create a cleaner and better sound. After three years of hard work, they have reached the sound they were looking for. And this is it!
Their debut on vinyl. D&S servers a full EP called Thoughts EP. A great cocktail of dreamy and diverse electronic tunes. This EP fits well in the back of any DJ bag to warm up the place or fix the atmosphere on roof-top bar in NYC. Smooth cruising, roof down car music or background music on a spring night with a summery breeze This EP is amazing and works best on a big sounds systems and major festivals! Childs play , what s in a name. Nothing like that melody. Creating a generously opening atmosphere, but actually brilliantly mixed creating the perception of simplicity. Groovy, acid touches and funky. Can t keep still when being played. A-track for sure! Thoughts might have a dark feel to it but evolves in a very uplifting track in just a few moments, making
it very bright and fun to play. Shed light to the place, should have been a great title as well, but thoughts is the best name for this track. The story in this track is definitely there to be told and listened to. Edge Of Insanity kicks of the B-side. Goosebumps, as from the start. Building up slowly to a very melodic and yet simply track, it s the perfect translation for a sunrise at the beach. Potential
Ibiza hit if you ask us. Submission is a track straight out of a movie. Clever, nice build up, dreamy, spacey and above all so amazingly subtle. This is what falling in love should sound like. We re humble. We re amazed. We re honoured to host D&S. We hope this duo gets the attention