quête:fire music

Two essential and eternal classics from New York Hammond legend Larry Young with vocals by the talented Linda "Tequila" Logan.

Rare groove standard "Turn of the Lights" I would hope needs no introduction, I well known album track that does actually exist on a rare promo arista 45 but it is HARD to find and goes for around $250+ when it turns up once in a blue moon (probably more now people know it exists).On the flip Linda's amazing free vocal on "Fuel for the Fire" is cut on 45 for the first time, one of those out there records you play on a good night when people are feeling open and it all comes together. I have spun both these records for over 20 years and no format surpasses the cut done here by Timmion Lab from the new Sony masters, I'm very happy I don't have to break out the album tracks any more.

Larry died in 1978 from untreated pneumonia and Linda disappeared from music apart from a few writing credits on 90s pop artist Betty Boo's tracks. If you love that voice be sure to check out her great vocal on Tony Williams Lifetime track 'You Make It Easy', great folky Jazz.

Afro futurist sensations Onipa unleash their debut album, combining Afro grooves, electronics and fierce energy for an effervescent celebration of cultural and musical encounters.ONIPA means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children, Onipa brings energy, groove, electronics, Afro-futurism, dance and fire! Born out of deep collaboration between long-time friends K.O.G (Kweku of Ghana of KOG and the Zongo Brigade) and Tom Excell (MD, guitarist and writer of acclaimed jazz/ soul afrobeat pioneers Nubiyan Twist), the group features KOG on vocals, balafon and percussion, Tom Excell on guitar, percussion and electronics, Dwayne Kilvington (Wonky Logic) on synths and MPC and Finn Booth (Nubiyan Twist) on drums.

The group have worked closely with Ghanaian star Wiyaala who features on three tracks, singing in the Sisaala language from the North of Ghana. The album also features collaborations with South African rapper Spoek Mathambo, Lesotho star Morena Leraba, Ghanaian percussion master Afla Sackey and Tanzanian sisters Pendo & Leah Zawose, each adding their own flavour to the project. “Through the musical prisms of London and Ghana our influences join together to create, a fundamental thread of traditional African rhythms, instrumentation and storytelling, interwoven with electronics, urban soundscapes and synth bass. We use technology, but it should never use us, our music is live and about deep human connection.” (Onipa)

Four relentless bouts of inspired fire music forged from the true spirit of free jazz, driven by searing poetic narrations of Black trauma, survival and power.

Irreversible Entanglements received “Best of 2017” honors from Gilles Peterson, NPR Music, WIRE Magazine, The Quietus, and Stereogum.

Eloise Laws is the Texan born singer who began recording for Holland Dozier Holland, releasing several singles before singing her to their Invictus label. This 1977 soul album is produced by Brian Holland. He describes her as bringing ‘fire, raw sprit’ to the recording session and ‘destined to be a major force in the music universe’ Highlights from the album include ‘Love Goes Deeper Than That’ and the title track
Reissued with original artwork with printed inner sleeve and pressed on 180g heavyweight classic black vinyl

First time on vinyl. Recorded for DC's Black Fire Records in 1976, Theatre West's music never made record until now. Selected works taken from the master tapes of James "Plunky" Branch (Oneness of JuJu, Experience Unlimited etc). Hailing from Ohio and resident in DC, Theatre West was made up of musicians from Slave, Gil Scott Heron's Midnight Band, The Fabulous Originals, Malone & Barnes and others. Serious jazz-funk-soul selections via the vaults of Plunky and Black Fire Records.

If someone had told me in 1992 that one day Kniteforce Records would be releasing music from such esteemed old skool artists as Sublove, Liquid, Hyper On Experience and Acen, I would have not believed it. To add NRG to that list is beyond anything I could ever have dreamed of, and with new music as well? What can I say?
This EP is not only NRGs first new hardcore in a very, very long time, it is also an amazing release which has all of the energy and sublime cleverness that you would expect from such a legendary artist. The first EP with more to come, this one contains four absolute winners. My personal favourite being I Love It because I love it, but Fire is also, well....fire. I am tempted to tell you to turn up Turn It Up and that Helpless will leave you helpless. All true, all amazing.

Come Away With "ESG". 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that's the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it's for the dance floor but it's not funk, there's no horns, no driving organ; it's the opposite of Sly And The Family Stone but no less cool and no less groovy. 'A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, 'Come Away' confirms the notion that the real rhythm is what happens between the beats. - AllMusic // 'This is dub disco with a punk edge.' Paste // 'Uncut punk-funk straight off the streets of the South Bronx.' Record Collector // 'ESG are that rare thing' Guardian // 'Come Away with ESG sounds so shockingly current.' Paste // 'A musical snapshot of New York City at the beginning of the '80s.' - Allmusic.

Bringing glitch aesthetic into the new decade, Aaron Spectre (aka Drumcorps) gives us Computorr, a look into digital dystopia through eyes of jungle, punk, noise, & rapid-fire sampling. This energetic EP features Aaron's signature cut-up yet concise beats, and unites several subcultures at their roots.

Artwork for this record was also made by Aaron, using analog video synthesizers & old CRT televisions, for the medium is the message. Vinyl is top quality and hits hard, its clear highs and powerful bass mastered and cut by Keith Tenniswood, and comes in several different color varieties.

Germany's JAHMONI are on release and distribution duties via Rubadub UK, hot on the tails of their diverse multi-genre releases by DJ Marcelle, BELP, and Summer of Delete.

Delroy Edwards keeps the old school fire burning, returning to L.I.E.S. with a new 8 track lp titled "Slap Happy". Once again this is back to basics, no punches pulled Chicago House worship, hitting all ends of the dance specturm. Sparse beat tracks, 80s synth stabs, 727 latin percussion...the elements are all there and put together in perfect form...many try but few can execute the vintage sound like this. What may even be Edward's most mature release, it comes in a time when the roots of dance music have been forgotten to the grotesque trends of the day. This is a reminder of why we were drawn to this music in the first place and what it can sound like.

Music Mania and Indica Dubs is proud to present the 16th release: Dubs Convention LP. This killer LP was originally released in 1996! This joint album features UK Dub legends; The Bush Chemists, and The Dub Organiser.

This gem shows the true 90s Dub vibes through the raw mixing skills used throughout the album. From the lightening sounding reverb on the snare, to the phasing phaser on the chords; this is the sort of original sound that shaped the Dub scene into the “steppers style” that it is today!

The original artwork of the cover and labels have been maintained to keep the authentic look of the original pressing from the 90s. As well as the original master tapes to keep the audio at the best quality possible!

"The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now."

The long standing and hugely respected label and events company Astropolis welcome Blutch for a new single that comes ahead of his debut album on this same label later in 2020, and includes a remix from Michael Mayer.

Blutch has had numerous releases on the likes Nowadays, Dance Around 88 and Délicieuse Musique, has collaborated with heavyweights like Terrence Parker and Red Rack’em and has received support from NTS and Radio 1. He is a respected talent in France and deals in classy electronica that blurs the lines between dream states and reality, and the forthcoming album will be presented as a gripping audiovisual tale with the help of video maker Romain Navier.

First up here is expressive techno masterpiece ‘Beau Rivage’ which soars on supple synth lines and elastic drum programming. It’s elegant stuff awash with melodic beauty and emotion. Single, ‘Compétition’ which gets an early release on December 18th is another excellently mature and musical track with symphonic synths reaching to the heavens and colourful arps lighting up the uplifting grooves. ‘2014’ is driven by vast, pounding and cavernous drums, with distant vocal harmonies bring an angelic feel to the celestial synths and chords. The final vinyl-only original is the brilliant ‘La Cité Des Etoiles’, which is layered up with pixelated leads, soft chords and found sound percussion samples that fire your every synapse.

Remixing is Kompakt label boss and one of the most revered names in electronic music, Michael Mayer. He flips ‘La Cité Des Etoiles’ into deeply rooted techno that is riddled with claps and synth lines that bright real light. Buy the digital version and we’ll also get the added bonus of ‘Vorlen’, which again brims with fantastic synths, chords and sorting grooves.

This is a fantastic package that more that whets the appetite for the forthcoming album.

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

Houndstooth present ‘S.L.F. Versions’, a set of cutting-edge radical reworks from Aïsha Devi’s widely-praised EP ‘S.L.F.’.

Hotly-tipped Chinese scene stalwart 33EMYBW delivers a thunderous percussion-heavy take on ‘Two Serpents’ and rising Indonesian duo Gabber Modus Operandi overhaul ‘Uupar Theory’ with pummelling kick drums encircling frenzied, swirling synths.

Nordic maverick Varg adds jungle breaks and pitched- down crunch to Devi’s pitched-up ethereal voice, whilst lauded JA collective Equiknoxx Music‘s vibey avant-dancehall version gives shout-outs to Devi from vocalists Gavsborg and Shanique Marie.

In addition to acclaim gained for ’S.L.F.’, over the summer Devi toured extensively, performing at some of the world’s most prestigious and forward-thinking events. At Dark Mofo x Atonal in Hobart, Australia she premiered her new AV show ‘∞E=TRv’, an innovative collaboration with visual artist MFO using light in space and reflective surfaces. Centred around Devi’s transcendence/continuum energy formula and inspired by Planck’s Constant in physics, these special shows have wowed and inspired, as have AV events staged with Emile Barret and Devi’s solo shows, where audio takes centre stage.

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

The 36 track 2CD album comes with 50-page book featuring text, biographies and photography. It also comes in a limited run two volume double-vinyl super-loud super-heavy gatefold sleeve editions. Compiled by Stuart Baker (Soul Jazz Records) and sleevenotes biographies by Jonny Trunk (Trunk Records).

TV Sound and Image features British composers who worked in television, film and music libraries the second half of the 20th century.

Aside from John Barry, whose work on the James Bond films made him a household name, or Tony Hatch and Laurie Johnson, the majority of composers featured here - Simon Park, Keith Mansfield, Reg Tilsley, Syd Dale, Keith Papworth – remain relatively unknown. And yet ironically they have created some of the most recognisable songs in British popular culture, their music widely disseminated on television.

A quick role call of these would include Neil Richardson (who composed the theme tune to Mastermind) and Barry Stoller (who wrote Match of the Day). The Simon Park Orchestra’s Eye Level, theme song to the BBC series Van der Valk, reached number one in 1973. CCS’s cover of Led Zeppelin’s Whole Lotta Love was the theme tune to Top of the Pops. And so on.

This album is not however a stroll through the TV memories of the mind, but an exploration of the serious contribution that these creative musicians have on the landscape of popular music in Britain.

Here then is a guide to the amazing music of many of the composers (both well-known and obscure) responsible for some of the most widely known music ever to come out of Britain in the second-half of the 20th century.

Reviews:

Quietus

Der Spiegel: "spannende Klänge ... die oft funky und immer lässig klingen"

"thrilling sounds.... often funky and always chilled"

New Zealand Herald: ***** "Every track is a killer... This is more than just music to mooch too."

Irish Times: **** "downright funky"

Volkskrant: "Ze leverden spanning op maat, die onbekende makers van fenomenale Britse film en tv-muziek. Door de cd TV Sound and Image opnieuw in de aandacht"

Evening Standard: "deeply funky"

Uncut Magazine "excellent 36 track set ... welcome additions to your collection"

Q Magazine: ****

In opposite to other Nigerian acts which hardly got known beyond the borders of their homeland, BLO were always very popular in the Western world. Accompanying Ginger Baker of CREAM fame was the first step to break them into the western popular music market of the 70s and what followed could be called an African fairy tale.

Still this, their fifth album from 1979, waited a long time for a proper reissue, especially on hot black wax with originals in good conditions fetching prices of 300 € and more. For fans of 5th Dimension, The Temptations, Hot Chocolate, Earth, Wind & Fire. First ever and long overdue official reissue of this long lost Nigerian disco classic from 1979. Fifth album by one of The most outstanding Nigerian 70's afro beat acts.

Mr. Collage’s debut solo album “Layers” takes a traditional Hip-Hop approach, utilizing samples as well as recorded instruments. “Layers” is a sonic painting consisting of dusty vinyl memories and future plane tickets. Funky beats and basslines, afro percussions and a second-hand synth are layered to complete the musical background of the album.

Is that all? Def not! The album features some very talented artists from the USA, Australia, Spain, Greece and Belgium. The rappers Nico The Beast, S Squair Blaq, Mic Bles and 1989TRE get funky on Collage’s beats and lady MC Amira Lacrima with her mellow raps gets into a story telling.

Soul comes strong in the album too with Lady EMZ cherishing life over a Northern Soul-inspired beat and Mantique spicing up the funkiness with her deep voice. Not to mention vocalist Lisa Spykers adding an extra R&B/Soul vibe by joining forces with 1989TRE.
On the wheels of steel, the IDA World Finalists - Fly Immigrants (DJ Mysterons and DJ Hypercutz) and the heavy artillery of scratching of Mind The Wax, DJ Moya take care of the scratches in the album.

Layers will be released on vinyl by label Mind The Wax in December 2019, and includes 11 tracks.

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

Since relocating from Amsterdam to Bergen on the Netherlands’ north west coast, Tom Trago has gone back to basics. Every day he jams out tracks in his home studio using a small selection of electronic instruments, drum computers and effects units, a process that allows him to quickly capture ideas, emotions and the intense moments he experiences while making music.

It’s these diverse and sometimes surprising musical moments that will be showcased on Trago’s new DIY record label, Jong Nederland. The imprint is named after the building where he now lives and works, an historic and storied place that has been home to artists of all descriptions since the 1960s. Each vinyl release will feature tracks made by Trago using his improvised, straight-to-tape technique, packaged in handcrafted sleeves illustrated by internationally renowned Dutch artist – and fellow Bergen resident – Pieter Bijwaard.

The Jong Nederland story begins with two tracks of undulating, slowly shifting dancefloor voodoo rich in crunchy drum machine hits, lilting electronic melodies and instinctive dancefloor warmth. On the A-side you’ll find “Whisper”, a hypnotic but fluid affair where hushed melodies tumble down over off-kilter polyrhythmic machine drums, spaced out effects and bubbly, ever-changing analogue electronics.

B-side “Belltower” sees Trago up the tempo a little and bounce us towards the farthest reaches of the galaxy. Utilizing a rubbery rhythm track full of sturdy but supple kick-drums and hissing cymbals, Trago layers up fizzing synthesizer lines, poignant minor key chords, wiggling acid-style motifs and starburst electronics to fire the synapses and stir the senses. Like its’ A-side companion, “Belltower” gently twists and turns throughout, reflecting the real time, hands-on changes made by its creator during the spontaneous sessions that led to its creation.

Still Loving You, by Twilight, was originally released in 1981. Housed in a low-fi generic album cover, this very polished, professionally produced record sounds like it was made by a super talented band. Strains of Earth Wind and Fire, George Duke and Roy Ayers, flow through a collection of tunes that effortlessly blend soul, disco, funk, Latin and Brazilian vibes.

But looks, as evident with the LP cover, can be deceptive. Twilight was not a band. In fact, with the exception of a guest horn section and one guest vocal, Twilight was, and still is, Lawrence Ross; one man with a clear vision of what his music should sound like, and how he would make it on his own. Working the nightshift at General Mills, Ross was a Head shift packer at a flour mill where, in the twilight hours, there was enough quiet time to create songs.

He estimates it took him about a year to write the album, but recording only took a week. Able to get by with only 3 hours sleep he recorded Still Loving You in a seven-day stretch between 10 am and 11 am every morning, just a few hours after finishing work. Ross showed-up to the studio with a master plan to make a record as he heard it in his head, by playing everything himself. “I laid out a tick track from begin to end on the first day,” he explains. “Then I went in and laid down the bass on the next day, and then drums, and then keyboards etc, with each process taking one hour of studio time each day.”

Kicking off 2020 in style, Life And Death welcome Madrid based groove maker Bawrut for some of his distinctly off kilter brilliance.
Italy born Bawrut makes warm, heartfelt electronic music that crosses the musical spectrum, doing so with a true left of centre perspective. He imbues his productions with weird and wonderful sounds and an exquisite sense of craft that make them both unusual and engaging. He has done so on the likes of his own Silencio label as well as Ransom Note and PETS Recordings and has become a mainstay of the DJ circuit as a result. Next to high profile shows at places like Nuit Sonores he has also toured as far afield as Vietnam, and here he brings some worldly perspective to this latest for DJ Tennis’ always cultured label, Life And Death.
First up is 'Rollin'', almost ten minutes of synth based excellence that takes you on a real sonic adventure. The drums are firmly rooted and hypnotic while the various pads up top unfold like aural fireworks. It's a tense track that never lets up and keeps you locked for the epic duration. Equally fantastic is 'Terza' with its twisted, tortured synth lines and vocal yelps all bringing real drama to the deep and rolling drums. It's a turbulent track to bring real edginess to the club. Lastly, the grinding 'Drum Beat' has a menacing bassline and tribal vocal stabs cut up with rave sirens. It's a sweaty, strobe lit monster that takes you to the heart of the dance floor.
These are three perfectly slow-release but high impact tracks from this ever more vital talent.

'TNT' has never released a record before (aside from the 12" we did last year), so this is a huge fucking honour to be trusted with this material. TNT Roots has continued a solo career since Earthquake quietly folded in 2002, trading short-run CDr's on Ebay and the Blood & Fire forum. His music still survives on not-for-sale dubplates - pushed exclusively by legendary 90's sounds like Aba Shanti.

The result is the Raw Dub Creator LP - a survey of his 2006 - 2018 CDr selected by Bokeh. Urgent steppas for dark dances, heavier than the grave - next evolution soundsystem muzik. These are driving militant sounds for these times made in seeming isolation in Northampton (TNT never plays live, doesn't want Bandcamp, just wants to sell his CDs quietly over email). TNT Roots' contribution to dub is seismic, almost dinosauric, but through some glitch in universe fabric, 'Mighty In Battle' Bokeh 2018 was his first official vinyl release.

As half of Earthquake - he's responsible for the darkest, forward, most slept-on future of dub to grace us. This unique and heavy vision has reset the whole game with long unavailable LPs like Revelation in Dub and Dub Harder Than Steel make obvious an understated lineage flowing from 90's steppas down to jungle, grime, hardcore, darkcore, doomcore, it's kinda pointless to list them. It's dub. TNT and Earthquake's rightful place alongside those mystic giants, Iration Steppas, is more than assured by those that know.

“Osondi owendi. What is cherished by some is despised by others. One man’s meat is another man’s poison. Different strokes for different folks. To each their own. Osondi owendi.

It’s a conventional aphorism in the Igbo language but if you utter the word “osondi owendi” in Nigeria today, the first thing that comes to anybody’s mind is the cucumber-cool highlife music maestro Chief Stephen Osita Osadebe and his legendary album that takes its name from the adage. Released in 1984, Osondi Owendi was instantly received as Osadebe’s magnum opus, the crowning event of an exalted career stretching back to the early years of highlife’s emergence as Nigeria’s predominant popular music.

Stephen Osadebe first appeared on the music scene in 1958 as a spry, twenty-two year-old vocalist in the Empire Rhythm Skies Orchestra, directed by bandleader Steven Amechi. With his dapper suits, urbane Nat King Cole-influenced vocal stylings and jaunty, uptempo, calypso-scented dance tunes, he personified the frisky spirit and anxious aspirations of a young, educated generation that had come of age in the wake of the Second World War, in a Nigeria that was rapidly shaking off British colonization and marching towards an independent future. 1959 would be the year that he truly made his mark in the business with his debut solo single “Lagos Life Na So So Enjoyment.” A giddy exhortation of the music, sex, fun and freedom availed by life in the big city, the song became a sensation and an anthem, and Stephen Osadebe became the leader of his own popular dance band, the Nigerian Sound Makers.

Osadebe would ride this wave of acclaim through most of the nineteen sixties, but a change in direction would be called for at the dawn of the seventies. As Nigeria emerged from a devastating civil war, so did a new generation of youth inspired by rock and funk, confrontational sounds reflective of a more violent, less idealistic era. All of the sudden, the idioms of the post-WWII dance orchestras that nurtured Osadebe’s cohort seemed quaint, the stuff of nostalgia. Osadebe needed to evolve to respond to the new tumultuous, turned-up times.

His response? He cooled it down.

Abetted by a new crop of fire-blooded young players, Osadebe slowed his music to a mellow, meditative tempo, brought forward the lumbering, Afro Cuban-accented bass and percussion, from the rockers he borrowed searing lead lines on the electric guitar. Over this musical bedrock, doesn’t so much as sing as he dreamily muses, coos, sighs aphorisms, words of wisdom and inspiration. “When one listens to my music, all I say appears meaningful,” Osadebe explained his lyrical approach, “at times they are in the form of proverbs which provoke much thought afterwards.” The result is a blend that is both rollicking and soothingly languid. Osadebe christened the style Oyolima—a tranquil, otherworldly state of total relaxation and pleasure. Osondi Owendi represents oyolima at its finest, and possibly Nigerian highlife in epitome.

Osondi owendi. What is cherished by some is despised by others. In some way, the album’s title constitutes a paradox. Because Osondi Owendi is a record that it’s almost impossible to imagine being despised by anybody."

Hamburg based Label Mantra Mantra drops its first EP by 11Schnull.
"IMPERIA" is not only the first release by 11Schnull, Hamburg-based Dj and producer, but also marks the birth of a new record and design label named MANTRA MANTRA. It will release electronic music from up-and-coming artists as well as handcrafted merchandising items, created specifically for each new output.

On this first EP the title track spans over an epic length of 10 minutes and combines an ecclesiastical sample field-recorded in the basilica of Imperia, Italy, with trippy choral soundscapes and hard crashing drums. The B side contains "Jam des Terrorglobus", a rough uncut session he held with his friend Baxmann, and a dark and quaky electro piece called "Roofies on fire", a harsh club banger that could potentially be the last track played at an illegal rave before the "Polizei" shows up. But this part of the story will be told on vinyl only.

The modern, avant synth/dance-pop frolics of ‘Moi’ catch Steven Warwick (Heatsick) at his impish but droll best for PAN. Returning to PAN six years after his standout Re-Engineering album,
Warwick returns to similar zones of enquiry as 2016’s ‘Nadir’ - the first release under his birth name. With ‘Moi’ (which we definitely hear enunciated with a playful pucker), Warwick further emphasises the personal, playful nature of his work with 10 melodic, danceable and pop-tart arrangements accompanied by a range of vocal personas; from his naturally droll singing voice to more alien and leaned-out styles, plus a guest platitude by Turner Prize nominee, Jo Pryde.
Bubbling up with the pickled 2-step and Lolina-esque lilt of ‘Open Fire Hydrant’, Warwick clearly draws upon a UK dance music heritage - and its Afro-Caribbean and US inspirations - with the
freshest, exceptional style that percolates throughout the album, strongly informing its biggest dancefloor highlights such as the warped trancehall bumps of ‘Salvation’ and the crooked crankshaft of ‘Kaleidoscope’, along with the the brittle boned shimmy of ‘Rush’ and the hard but elegant drive of ’Silhouette.’
But they’re only half the story, which really comes together with contrasts in the fizzy downstroke of ‘Kind of Blue’, on the Black Zone Myth Chant-like psychedelic daze and blunted vocals in
‘Consolatio’, and the album’s standout ‘Danke’, which revolves around Jo Pryde’s gentle utterance of the title weft into ominous ambient clag, connoting a sort of humility that knowingly becomes
both less and more meaningful with each reiteration

2x12"

The first LP from Scorn since 2010’s Refuse; Start Fires, ​Cafe Mor ​is Mick Harris in his happy place. Which just happens to be in studio, demolishing all standards and rules for electronic bass music, and embodying the darkest, deepest sound in dub. ​Cafe Mor ​takes risks outside of the conventional Scorn apparatus, and with these risks come substantial rewards.

The album is comprised of powerful dub excursions, from the deep dark dank of the front two tracks Elephant and The Lower The Middle Our Bit, and gaining steam towards the ultraviolence of Mugwump Tea Room to Never Let It Be Said to the CRUSHING DEATH KICK of Who Are They Which One. A quick drive under the lights with a lasered out snare on Dulce, then we come across the appearance from ​Sleaford Mods ​frontman​, Jason Williamson,​ on the standout track on the LP, “Talk Whiff”. A cruise around the Midlands sighting the Broke Fridge and Tinder Surprise, with an instant classic refrain:

“Talk Whiff // I’m a busy person // I’ve had enough of it”
Cafe Mor culminates in the all-in-one dub affair SA70, letting rip all the new mixer and fx techniques of Harris’ most recent incarnation of Scorn. The album is the official soundtrack for all smoked out backroom deals, situations and arrangments, cancelling all small tours, and mongoose rhinocharging the bass to level 24.

All tracks Created and Mixed ​by MJ Harris in the Lad’s Old Room

B14 Mastered​ by Daniele Antezza for ​Dadub Mastering Studio

Artwork​, ​Layout ​by ​MachineTM

‘Rain, spit, ice, neon, plants, steam, mercury and soil. This is dream music categorised by a language of senses; visual, poetic, and abstract sound that draws on techno and dub ambient.

‘Somewhere between pastoral impressionism and cyber-noir, its surface evokes the tensions of a fluctuating, fizzing atmosphere, pictures emerging and dissolving in the mind’s eye. Thick layers of field recording flood tracks fabricated from erratic, oddly distanced rhythm.

‘The sensation whilst listening is not unlike hearing the world from a place within the body; swimming in the bloodstream, cutting through the turbulent landscape secure in a metal tube.

‘Or being over-exposed to lushly textured environments with the anatomy far receded; an out-of-body experience where subtler senses are heightened and the landscape begins to take on surreal qualities.’

japanese legendary jazz guitarist “ryo kawasaki”,some of his famous works are like mellow jazz fusion masterpiece “tarika blue”,dance jazz classic “trinkets&things”,cosmic new wave jazz “lucky lady”….

this album with his band “the golden dragon” is probably the best album for fans of wired jazz,brazilian,barealic music. japanese best digger “chee” picked up this album as his favorite album from japan on RA.

“little tree” is a first album that ryo kawasaki used self made guitar synthesizer.

this album is rich in variety, japanese brazilian jazz fusion classic “looking around you”,experimental guitar ambient “capricho arabe”,cosmic fusion “quasar infection”,barealic jazz masterpiece”you are the sun-light”,club jazz classic “little tree”,folky jazz vocal “jamiko”,a lot of great song on this album.

Edition of 100 copies only.

Side A: 'Vodou'. Head priest: Gran Sèvitè Jean-Daniel Lafontant. Vodou priests: Oungan Eddy Saint-Jean and Anperè Jean Céus. Vodou priestesses: Manbo Françoise Célestin, Manbo Christine Lamour, Manbo Marie-Marthe Similien and Manbo Jacqueline Thélus. Other participants: Ounsi and members of Sosyete Na-Ri-VéH. Percussionists: Ountògi and the drummers of The Sacred Temple Na-Ri-VéH 777. Side B: 'Rara'. All-female rara band: Forever Rara Fanm of Belair.

Grand Rue recordings made by AMé in front of the Atis Rezistans, Port-au-Prince on 21 December 2015, 4:54pm to 5:18pm. Vodou ceremony and all-female rara band recorded by AMé at Temple Na-Ri-VéH 777 in Port-au-Prince, 16 December 2015, 9pm to 1am. Edited by Philip Marshall with AMé in Cologne, 16 May 2016. Mastered by Zachary James Watkins at Stank House, 3 August 2016. Artwork by Stefan Fähler. AD&D by Don Wyrm.

With thanks to: Ghetto Biennale, Leah Gordon, Atis Rezistans, Gabriel Toso, the priests and priestesses, the members of the all-female rara band, the percussionists, Clocktower Radio and all the Haitian People.

An introduction to Vodou music and Rara, by Gabriel Toso:

"Tanbou prete pa janm fè bon dans" ("A borrowed drum never makes good dancing")

"Music is to Vodou what water is to our bodies or fire to our hearts: all embracing, all inflaming. The spirits of Vodou are called upon and energised by the inexhaustible rhythms of Africa. Brought by the slaves to the New World, and merged with indigenous and European traditions, their magical power is the soundtrack of Vodou itself, its life-force.

Dancing, singing, praying are all fundamental aspects of Vodou; but above all it is the drumming that plays a major role during the ceremonies, an invitation to the lwas (gods) to join and partake in the rituals. Like the heartbeat of an infant in its mother's womb or the vibrations of our planet, the percussions of the tanbou (drum) are at once instrument and creator. Different batteries of drums correspond to different rites, countless rhythms to a multitude of nations of laws. The drum is not only a musical instrument but a sacred object, an expression of the divine. Its sound guides the initiates to their appointment with the spirit world.

Rara festivals are yearly celebrations that begin following Carnival during the Catholic Lent season, when the activity of the Vodou temples is at its quietest. During those six weeks Rara bands parade for miles playing music, dancing, and performing rituals for Afro-Haitian laws, while wearing specific costumes and using a variety of musical instruments. Probably originated in Haiti during the colonial period, Rara bands and their vast repertoire of songs are both politically and socially engaging while keeping an amusing, irreverent, and at times risqué personality. Traditionally connected with a Vodou temple, Rara bands leave the ceremonial spaces to interact in the public sphere through parading, thus reminding both participants and spectators of the physical presence of the lwas." – Gabriel Toso, London, 3 November.

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

Featuring Prince Jazzbo, Dillinger, Dennis Alcapone, Lone Ranger, Michigan & Smiley and many more. Soul Jazz Records’ new Studio One DJ Party is the latest installation from the mighty Studio One Records catalogue, a wicked new collection of the finest DJs and toasters ever to inhabit the world of reggae – seminal Jamaican artists including Prince Jazzbo, Dillinger, Dennis Alcapone, Michigan & Smiley, Lone Ranger as well as a host of lesser known artists and rare cuts from Studio One. From the earliest days when Clement ‘Sir Coxsone’ Dodd ran his Downbeat soundsystem up and down the length of Jamaica, DJs and toasters such as King Stitt and Count Machukie were always a part of the sound of Studio One, introducing new records and exciting audiences with catchphrase lines such as: “No matter what the people say these sounds lead the way It's the order of the day from your boss deejay” King Stitt So when DJ emerged as a distinct reggae style at the start of the 1970s, Studio One was, as always, way ahead of their competitors. Legendary artists of the calibre of Dillinger, Dennis Alcapone and Prince Jazzbo all queued up to record for the equally legendary label. At the end of the 1970s, as dancehall exploded onto the island, Clement Dodd was once again able to maintain Studio One’s position on the throne as the number one sound in the Jamaica, fighting off upstart competitors such as Channel One and Joe Gibbs who tried to replicate Studio One’s unique sound. During this period Clement Dodd released a series of stunning dancehall releases from young DJ/dancehall artists at the label including Lone Ranger and Michigan & Smiley. This selection spans the early 70s up until the mid-1980s, from the earliest days of deejay toasting right up until digital dancehall, ground-breaking tracks over the finest selection of the ultimate Studio One rhythms and tracks. Who could ask for more? Studio One DJ Party includes specially commissioned sleevenotes by Chris Lane, founder of the legendary British reggae label Fashion Records, as well as fantastic original artwork commissioned by the illustrator Ski Williams. The album is released as double heavyweight vinyl (+download code), and distinctive Soul Jazz Records CD with slipcase

Here we are with our 12th vinyl release. We're really proud of our back catalogue, and even prouder to be able to add more to it. And what better way to expand our portfolio than by inviting yet another exciting artist to join our 12" club. And this artist is Ricky Force - a man who's seen it all in the more breakbeat-oriented face of drum & bass, pushing his trademark intricate percussion programming since 1999, releasing quality music on labels such as Reinforced, Repertoire, Omni Music, Pinecone Moonshine, DSCI4 or 117, and now finding home with us.

Without further ado, here's Ricky Force and his latest single - a pair of not your usual 170-BPM masterpieces leaning heavier towards roots vibes, jungle, halfstep, and dub (Ricky's from DUBlin, so it makes total sense). "Ecstasy" starts with a looped vocal bit that leads the listener on towards a thick bush overgrown with full-bodied kicks, sharp, frantic breaks, and a bassline composed of massively booming bits that are bound to keep you on your toes, especially if you have the chance to enjoy it on some proper soundsystem.

"Firehouse Dub" is, in turn, a solid halfstepper strongly rooted in jungle revivalism. It marches slowly and steadily, unfolding some interesting stories on the way - a series of thickly-arranged broken beats, a pack of blares, some vocal bits here and there. Put together, they create an amazing mixture of classic sounds organized up to modern-day standards with surgical precision only Ricky Force is capable of. A true feast for all those into the less polished and more true-school shades of drum & bass.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

After 10 vinyl releases exploring the leftfield side of electronic music, No Suit Records enters a new era with a new serie of Split EPs. Two artists per EP, offering a wider color palette, stretching styles and genres.

Cabasa is back on No Suit Records after the launch of a successful live act and many appearances in festivals and high profile clubs around Europe. On this release Cabasa navigates between luscious atmosphere, broken beats and polyrythmic patterns.
Crystal Clear is made of soft melodies and tickling bass —it is a reminiscence of the 00’s downtempo apogee and an invitation to accept your inner melancholy. More Than a Second is a slow awakening, a groggy musical move, a muffled request for a brighter future. Catching Fire Slowly is a contemplating ode, a call to take a deep breath and prepare yourself for the upcoming run.

Lost souls or flowers of hope, lurking into light and darkness, no one knows who Scaarlet are. The only certitude is that they always play with boundaries and enact performances between syncopated melodies, cut up sounds, wavy basslines and deep atmospheric sounds. They are back on No Suit Records and continue to develop their own intricate style, merging Drum’n’Bass and Techno influences into a politically and socially engaged music.
My Man translates the raw energy of riots and rebellion, powering a fusion of Drum’n’Bass and Techno. The River resumes some of the Yakusa women tattoos symbolism into a romantic pulsating 170ish bpm vibe. Advertising is an open critic of the fast fashion world and the supremacy of commercial communication, mixing polyrythm with a straight DnB kickdrum.

All tracks mastered by Pole at Scape Mastering in Berlin.

“This is my 1st solo rocket.
Tracks presented here were matured at the museum for few years and actually some of them came to
me at my very first attempt on solo music, being myself only involved with bands till then.
Everything was recorded at home exposed to machines i didn't know, using older and newer gear. At
some point midi samples were also used, taking advantage of my computer promises #anythingoes.
Turns out that cold meat lights no fire so attached to this music are ghosts of my life transcribing their
emotions into techno. First half of this rocket is more on a negative tip, the second half is more
positive, like we all should take it. Either way you should listen to both sides cause they complement
each other, so try to relax and enjoy the ride, or get off your ass and jam…"
Tiago’s (LUX/DFA) seminal solo album.

Indio & Ronin, famous but top secret Djs and Producers from the world scene, with their first release with a 12" vinyl,
sure to turn on the dance floors! Having found an idea in a debut version full of unexpected riffs and counter riff keeps
the fire lit from the biginning to the end. On side A there is a real killer for more 'fiery tracks, while side B is 'a more' clubs interpretation
while remaining in the same mood. One of the newest releases in the best game at the moment!

Special Edition repress of Combo Chimbita's groundbreaking 2016 EP, El Corredor Del Jaguar. Featuring previously unreleased Extended Mix of Pjarao on A-Side.

After a highly-regarded debut single on Names You Can Trust back in 2014, Combo Chimbita returns, expanded and transformed into one of the most original and wild ensembles currently cutting their teeth in the New York City live arena. Their latest 4-track studio effort, EL CORREDOR DEL JAGUAR, co-produced by NYCT's Greenwood Rhythm Coalition and featuring the powerhouse Carolina Oliveros on lead vocals, is an explosive tour de force of unbridled psychedelic energy and futuristic fire with firm roots in the ritmo of the African diaspora. With connections and inspiration drawn from the vast sea of Caribbean music — specifically the band's native Colombia — these transplanted first-generation New Yorkers have carved a unique corridor in the thriving underground jungle of the big bad city.

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

repressed

Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release follows two critically acclaimed full length albums on Lampse (2006's 'Gebrauchsmusik' and 2005's 'Exercises In Estrangement'). In addition Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including 'Salad Fingers' creator David Firth. Currently based in Berlin, Fjellström's compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic.

'Schattenspieler' (which translates as 'Shadowplayer') takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next - the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music - the implication being perhaps a more terrifying experience than to be confronted outright…listen to 'Schattenspieler' and you may find your mind starts to play tricks on you…

The undeniably Angelo Badalamenti-esque descending synth strings of opening track 'The Disjointed', lay the foundations for Fjellström's 'Schattenspieler' album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates Kreng and Jacaszek. Marcus' wide ranging abilities in composition and his willingness to let go of accepted form and function makes 'Schattenspieler' a perfect choice of release for the Miasmah label. The suspense laden 'Antichrist Architechture Management', with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace 'Schattenspieler'; pieces such as 'Untitled 090616' find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions - not without emotion, but somehow remorseless. 'Schattenspieler' is, for the main part, a defiantly bleak journey.

Vinyl edition ltd. to 300 copies, purple vinyl, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)

Cromby returns to UTTU with 2 blissed out classic house tracks.

DJ Support
Skatebård - “will play!” 4/5
Amy Becker - 5/5 "Fire"
Anja Schneider - “Both tracks are great !!!!! Great work as usual. Cant wait to play. Big Hug” 5/5
Catz 'n Dogz - “this is proper music” 5/5
Kornél Kovács - “:)” 5/5

Reviews
Resident Advisor - "Acid licks and big basslines to sends clubs into meltdown."

This album is a must have for anyone interested in Lee Perry. He produced this album just after the birth of his daughter and you can feel his joy in the music.

It is filled with top-quality music -- instrumental for the most part -- with the spaciest thing being the sound of a roller-rink organ over reggae. The grooves are solid and slower than before, Perry stacks all the sounds just right, and Count Prince Miller’s buoyant and animated take on “Mule Train” is not to be missed. Neither is Dave Barker’s sweet crooning on “Will You Still Love Me” or “The Result’s” sparkling keyboard line.

Lee ‘Scratch’ Perry was a pioneer in the development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Now available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

The American distributor Forced Exposure once wrote that about him: „Philipe Cam is a star in his own field. He is among the few people who have succeeded to write hypnotic dance music without a conventional beat still conveying a thrilling, dramatic feel. Cam has developed an accurate, intense and complex formula of modulation-techno. Starting with music similar to Pan Sonic in 1996, his music turned towards a more elegant form of minimal music. Abstract soundtracks lead to an organic form of music, which was equally influenced by modern techno as Wolfgang Voigt's Studio 1/Gas or Basic Channel/Maurizio. Cam's music corresponds heavily to the Cologne scene, where his music is appreciated and played throughout the clubs by the likes of Michael Mayer, Tobias Thomas and various other DJs as well as experimental djs from the A-musik corner.“

So what’s new with his music? Basically the art of filtering is still his passion. Maybe he can be less associated with techno and the themes of his new tracks emerge in a more distinctive pattern? Well that’s hard to say, we would comment the energy of his early techno days in Brussels have returned here in a fierce way with some oft he tracks. The rhythmic movements are classy and stick with you. Whereas other tracks look for a distinctive relaxation of some kind.

We are releasing the album as a double clear vinyl with cover art by Yvette Klein who also designed the cover for his Philippe Cam’s album 18 years ago. Graphics for "Rotterdam" come from Cologne designer Daniela Thiel. We also would like to thank the cultural department of Cologne for supporting us to finance the album and to see the artistic value in this piece of minimalism.

The album kicks off with the mellow and soothing "Cocoa Beach". A Gentle beat that moves like bodies swaying in the hot summer sun. The clock moves a step forward and then a step backward as evolution takes a rest.

"Manga" feels like an acceleration to the moon, the contemplative moments come in spurts and hide in the intervals of the chords which are on the loose. Philippe Cam is the most energetic person in the world when it comes to core activity, this is head banging stuff for the ambient lounge.

"Short Summer" is a heavy and violent recognition. As intensive as it is it knows when to stop and disappear. In the ear and brain of the listeners it leaves an indisputable echo which lingers on for minutes. We suggest not to make a pause but jump directly into "Vermillions Sands".

What can be said about into "Vermillions Sands"? Be prepared some Terry Riley might lure around the corner to offer you some oranges on a silver plate, but don’t eat them. This is luring and beautiful at the same time. Maybe the best ambient track ever written and yet who can ever venture to say that without making a fool of himself. "Vermillions Sands" comes in waves and they could be longer we think.

"Rotterdam" the home of Philippe Cam for a long time but not anymore. He moved away. So that changes the perspective. But when was the track written? "Rotterdam" seems mechanical and rusty and spooky and divided. This arrangement is very different to all the other tracks so far and is almost dub in style but way more fractured. A steady stop and go emerges. But the longer it runs the better it gets. At minute 6 the brain resets itself and tries to grasp what has happened so far, reconstruction as a result of its own phantasmic imagination and hardly true at all, wonderful. Applause included!

Here comes "Bis", a short episode of a track and before we can comment on it, it is already over.

"The Game" is a mule of a track. It has a quiet stubborn sequence that bites and kicks you in the back without any change in near sight. We can hear a voice whispering, which sounds like a miniature vocoder featuring the voice of a child calling out - never stopping. This is treadmill to some extend but starts to breathe towards the middle of the track and slowly changes perspective. In fact there are some changes taking place here which go beyond a sound design that works heavily on the stereo image. Stick with it and the experience will be a great one.

"Ultimate Fly For Halloway" somehow orchestrates how you might feel after you climbed a 8000 meter high mountain and reached the top. A rejoicing off a special kind. Lava for the ears. No cheerleader murder plot sorry.

"Last Track" is a perfect example of a true minimalistic pice of music that manages to make contact with other genres and does this with elegance, determination and a lot of soul.

key selling points: The key selling point is the fact that Philippe Cam once was referred to as one of the main protagonists of the minimal music scene along with Wolfgang Voigt's Studio 1/Gas and Basic Channel/Maurizio. A true artist with a vision which is very rare.

Philippe Cam has picked up the sound he was famous for but has developed it further without selling out to any genre and expectation that rules our daily business.

Exactly this is the strength of the album to create a vivid world of impressions by using instruments in a whole different way than all software developers would suggest.

"Rotterdam" is a piece of art that can set off a firework when you listen to it and it owes nothing to anyone.

Esa's compilation Amandla: Music To The People holds diverse dancefloor tracks from over the world. The first compilation in 2019 for Soundway and a comprehensive picture that connects the dots of Esa’s musical journey.

Growing up in Cape Town, South Africa, during the last days of Apartheid, Esa recalls the immense power that music had in resisting oppression and division. “Amandla, Awethu”, which literally means “the power is ours”, was an ubiquitous chant echoing throughout the politically charged atmosphere of the time – a call to unite, and a call from which this release derives not only its title, but its intention as well.

“Music was a crucial way of bringing people and communities together”, reflects Esa, “and it’s what I hope to achieve with this compilation, too”. For Esa Williams is not only a musical polymath but also passionate about connecting people through music – be it as a skilled DJ, an educator in production, a band leader reigniting the legendary Ata Kak band from Ghana, or a collaborator with the likes of Tanzanian artist Mim Suleiman. A firm favourite on the DJ circuit, he held a monthly residency at Phonox London for over 6 months - bringing guests such as Nu Guinea to Brixton audiences - as well as delivering memorable sets at Dekmantel, Atlas Festival, Boiler Room and more.

The last few years have seen a recent surge in interest in South African music from the 80s and 90s, including bubblegum, which was recently showcased on Soundway’s critically acclaimed 2018 compilation Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa, put together by DJ Okapi. It was only natural that the label looked to delve deeper into the country’s rich musical legacy and tap another of its esteemed ambassadors for the role of compiler.

The result is a rainbow of complementary electronic styles hailing from not only South Africa but further afield, including zouk from Brazil and the French Antilles, as well as Afro-futurism. Together, they form a comprehensive picture that connects the dots of Esa’s musical journey – from growing up in South Africa, to artists he has encountered in his worldwide travels who have helped develop his identity as a musician.

'Broken Toys' showcases the prodigious talent of Eshan Gopal andcaptures the essence of 70s soul and disco, yet it sparkles with more than enough retro-futurist fireworks to light up the pop horizon.Arranged and performed to perfection, this soulful track delivers feel good nostalgia and is elevated further by the young lead singer voice, which can only describe as the king of pop's second coming.

Carrying heartfelt messages about love, moving on and growing up, coupled with warm and uplifting instrumentation; 'Broken Toys' is a breath of fresh funk and soul without being marred by controversy. Its pure, exciting and enjoyable music for any age and The Tribe of Good have totally nailed down every element of this soul groove.

On the flip of the vinyl is a 'Percapella' which features these stunning vocals layered with a stripped down percussion backing. Offers a weapon clean enough to shake things up in your DJ mixes.

The Tribe of Good are the secret weapons behind your favourite chart hits. The super group steered by Grammy-nominated producer Hal Ritson (Chemical Brothers, Katy Perry, Duke Dumont, High Contrast) features an array of producers who have worked with the likes of Nas, Cee Lo, Taylor Swift, alongside a cast of musicians such as Basement Jaxx singer Vula Malinga and Jamiroquai guitarist Rob Harris to highlight a few.

Difusion's Jamie McShane & Daniel Maunick hook up with the extremely talentented vocalist Ant Thomaz on two original killa tracks that brings their love of Jazz/Funk,Soul & House music all together.Includes a heavy remix from Daniel Maunick, producer of Azymuth, Marcos Valle, Incognito and many others! This is the first release of the newly relaunched Straight Talk Records, back after a 20 year hiatus, with 3 tracks full of soul & fire!

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

The Summer sun is shining. New possibilities and a new signing for FireScope. Miles Atmospheric aka Miles Sagnia is a U.K. producer whose absorbing compositions have garnered him with releases on A.R.T., Finale Sessions and his own Atmospheric Existence Recordings.

Four works make up Sky Healer. As with all Miles Atmospheric’s productions, there is a liberated and untethered touch to the entire quartet. From a steady kick and rusted clank, “Exoplanetology” sets sail. The track soars on rising strings, muffled samples feeding back indecipherable messages to terra firma. Bright bars introduce “Our Future”, notes shimmering in their radiance as dew drop splashes of percussion form. Xylophonic keys, energetic drums and silken tones coalesce to create the aquatic journey that is the “Waters of Life” before “See The Light.” Snapping drums from the bedrock from which a plethora of tones and textures grow. Sweetened lines ascend to bring perfect balance to this superb finale.

With Sky Healer, Miles Atmospheric accomplishes a very difficult feat. Not only has the British musician produced a body of techno that is organic and unencumbered but also, he has sculpted soundscapes to escape to.

Available on vinyl for the first time in 40 years, Outernational Sounds proudly presents a cornerstone document from the Los Angeles jazz underground, Flight 17 – the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott.

"The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people and ask, “Now what can we do to make this community better? What can we do for this community together?”...That’s how the Pan-Afrikan Peoples Arkestra – the Ark – began, with the knowledge that we wanted to preserve the black arts in the community."
Horace Tapscott

Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. Countless musicians passed through its ranks, and in Tapscott it was led by a musical visionary who should be ranked with the very greatest names in the music. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern – they weren’t about that.

First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. They played for the people, organising fundraisers in parks and coffee houses, hosting teach-ins and workshops for young and old, and mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, supporting each other and their people, and built an ark for the Black arts in the heart of the city. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But through all this, they never released a note of music.

It was the intervention of Tom Albach, a fan of Tapscott and the group, that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker’s title track to the laid- back summertime groove of Kamonta Lawrence Polk’s ‘Maui’, or Roberto Miranda’s uptempo Latin jam ‘Horacio’, Flight 17 showcased the radical voices of the Arkestra’s members. Led out by Tapscott’s hard-swinging piano, this is the first flight on wax of the West Coasts’ foundational community big band – energised, hip and together. Open up the gates and prepare for departure!

This edition of Flight 17 contains two tracks previously only available on the 1997 CD edition: ‘Coltrane Medley’ and ‘Village Dance’, recorded live at the Immanuel United Church of Christ. It is released as a limited vinyl-only edition on a 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

J. Robbins has been the guitarist/singer and primary songwriter (or pushiest collaborator) in several bands since the early ’90s, including Jawbox, Burning Airlines, Channels, and Office of Future Plans. He has also played bass for Government Issue and the Vic Bondi project, Report Suspicious Activity.
For the bulk of that time, he has also been active as a recording engineer/producer, working with musicians from around the world at his Baltimore-based studio, the Magpie Cage.
J. started performing as a solo artist around 2010, making occasional low-key releases on Band- camp and contributing to two benefit compilations that were released on Germany’s Arctic Rodeo Records.
Un-Becoming -- which came together in short bursts of activity spread out over the long stretch between 2016 and 2019 -- is his first full-length solo record. On 11 of the LP’s 12 songs, J. is joined by Peter Moffett on drums, Brooks Harlan on bass, and Gordon Withers on cello and gui- tar.

Where Future Unfolds is a new work spirited by Chicago-based sound & visual artist Damon Locks. Starting as a solo sound collage piece (where Locks pulled samples from Civil Rights era speeches and recordings to create an improvisational pallet for performance on his drum machine), over 4 years the project has blossomed into his 15-piece Black Monument Ensemble - featuring musicians (including Angel Bat Dawid on clarinets and Dana Hall on drums), singers (alumni of the Chicago Children"s Choir), and dancers (members of Chicago youth dance company Move Me Soul). Where Future Unfolds is a live capture of the ensemble"s epic debut at the Garfield Park Botanical Conservatory on the West Side of Chicago. Recalling the spirits of Phil Cohran"s Artistic Heritage Ensemble, Eddie Gale"s Black Rhythm Happening, Archie Shepp"s Attica Blues, and Public Enemy"s It Takes a Nation of Millions to Hold Us Back, the album presents an inspired, innovative & immediate intersection of gospel, jazz, activism & 808 breaks.

Legitimately available again on vinyl for the first time since its original release in 1983, Outernational Sounds proudly presents a major statement from a crucial figure on the Los Angeles jazz underground – pianist Nate Morgan’s spiritualised deep jazz classic, Journey Into Nigritia.

How many 16 year olds would have the confidence to walk up to a revered bandleader at a gig, and inform him that one day they’d be playing together? As improbable as it sounds, this is how pianist Nate Morgan introduced himself to the great Horace Tapscott, founder of the Pan Afrikan Peoples Arkestra. The teenage Morgan had heard Tapscott’s Flying Dutchman LP The Giant Is Awakened being played by Greg Kufahamu on local Los Angeles radio station KUSC, and Arthur Blythe’s wailing sax had gone ‘straight to the heart. It was a spiritual experience.’ Morgan showed up to all the Arkestra shows he could find. He was already studying with Joe Sample and Hampton Hawes and playing in local bands, but the draw of the Tapscott’s band was too much for the gifted young pianist:

‘I could only take about two or three more concerts before I had to run up on stage. When I first introduced myself to Horace, he tells everybody that I said, “Yeah, I’m Nate Morgan. I’m going to play with you all.” Not that I want to, but that I’m going to.’

Over the next decade and beyond, Morgan would become a central figure in Tapscott’s UGMAA (Union Of God’s Musicians and Artists Ascension’), bringing new figures into the fold (it was Morgan who first hipped Jesse Sharps to Tapscott’s circle; they were lifelong friends), running jam sessions, and eventually being given the task of organising the Arkestra songbook. During the early 1970s he also worked commercially, doing a stint with Rufus and Chaka Khan and appearing on Willie Hutch’s Foxy Brown soundtrack. Into the 1980s and 1990s he remained active, keeping the UGMAA flame alive in late night jams and private sessions, and working tirelessly around LA, including collaborations with Bone Thugs N’ Harmony; he was also part of the early 2000s LA jazz collective Build An Ark. A true musician’s musician, Morgan died in 2013.

Journey Into Nigritia, featuring firebreathing reedsman Dadisi Komolafe, was the first of two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. A committed, spiritualised work that showcases Morgan’s heavy composing as well as his McCoy Tyner- influenced and technically flawless playing, Journey features dedications to Coltrane (‘He Left Us A Song’) and Cecil Taylor (‘Study In C.T.’). Surging, modal jazz from the LA undergound, Journey Into Nigritia is a crucial recording by an unsung jazz legend.

Tropical Disco Records return with another sizzling four-tracker, tackling deeper, more soulfully sustained tracks which still cipher the same party-centric impact consistent across every release.

Moodeena’s ‘The Chase’ is a fireball of an opener, showcasing a tantalizing flurry of teasing brass and uninhibited guitar strokes, cooly climaxing, sending shocks of piloerections to every corner of your body.

Next up label co-founder Sartorial on a slightly slowed, yet typical love flex with ‘Addicted To You’. It oozes high romantic interfusings of heady beats and a fantastically reinvented vocal. It’s an ode to that golden moment in mood music paired with midsummer sun, certainly one of his best works to date.

Tropical Disco debutant Chevals offers up a delectable deep house symphony with ‘Saturn’, a lush suite of hazy chords, boogie vamps and shuffling percussion.

Gledd & The Funk District’s ‘Late At Midnight’ closes of the record in fine style, looped swells and vintage stabs, laying a dexterous foundation for the full-frontal, fanatical vocal to follow. It appears the label are showing off using this tyrannic tool as the EPs send off, making you nostalgic about a night never experienced and stomping another firm footprint in contemporary disco’s orbit.

Stylotone in association with The Bernard Herrmann Estate, The Hitchcock Trust and Universal Picturesis proud to announce the World Premiere Release of...Marnie. Composed and Conducted by Bernard Herrmann (Vertigo, Psycho, Taxi Driver)

A 4-Track 7” 45RPM Vinyl EP featuring music from the Original Motion Picture Soundtrack to Alfred Hitchcock’s 1964 Production.

“No composer contributed more to film than Bernard Herrmann, who in over fifty scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese.”Steven C. Smith, author of ‘A Heart at Fire’s Center: The Life and Music of Bernard Herrmann’

Mastered & Cut by Sean Magee at Abbey Road Studios, London

Karen Gwyer returns to Don't Be Afraid with her first new work since 2017's Rembo LP, which gained critical acclaim for its powerful body music and melancholic melody led pieces. Man On Mountain EP is a further evolvement of the duality and nuances in moods and emotions that make Gwyer's music so impactful. Resetting, rebuilding and subverting atmospheres and rhythms is a constant in her music and Gwyer builds on that more in this latest instalment.

The low swung weight of opener Faces On Ankles' bassline is full of suspense, alternating between rolling fluidity and unpredictable kick patterns, while a dubby melody dances alongside glossy, introspective arpeggios. The EP then weaves suddenly into cosmic drone that snarls with tension and desolation on Ian On Fire. You can sense contrasts between these two musical spaces – luscious, bouncing techno that nods directly to Gwyer's Midwest upbringing (Faces on Ankles, Cherries On Shoulders) and darker drone experiments where light peeks through the composition that adds balance to the mood, (Ian On Fire, Ribbon on Neck). Gwyer's music takes a different path with each record while holding onto elements of previous incarnations of her sound and Man On Mountain adds new dimensions to the bold and open minded spirit she embodies.

As a singer-songwriter artist, JE (Jon Edward) Sunde composes abundant records that are as much folk as white soul, influenced by Nina Simone and Leonard Cohen. Without always being aware that he has gold in his voice, and Paul Simon's melodies in his fingers. A long-time friend of Bon Iver, JE Sunde shared the music scene with him at Eau Claire, their hometown, before leaving to Minneapolis. With his group Dardevil Christopher Right or solo, JE Sunde has played everything that the country has of small indie venues. After two albums released in the United States, JE Sunde releases his songs for the first time in Europe as a best-of album available on June 7.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

Borneo’s eighth release brings a sweet little five track compilation of eccentric and exotic electronica. All music is lovingly composed and constructed by the label’s family and close friends.

Ultrastation is the lovechild project of Cosmic Force and Nuno Dos Santos. Their Eau De Voodoo kicks this EP off with a fire starter made out of driving afro rhythms combined with mesmerizing vocal samples.

Phones On Fail Jah by Fader sees a quirky digital take on digidub. Centered around filtered chords, a deftly curated selection of melody and percussion is put through its paces.

The enigmatic Fizzy Veins poured his hart out on the song Handbrake. Guitar play over a subtle synth line, all sprinkled with fragile vocals that are almost drowning in the sea of echoes that lies underneath.

Rotterdam’s Nous’Klaer mainstay Mattheis has contributed V21. A stealthy weapon with synth driven melodies and electronic rhythms that are slowly morphing in and out of each other. This will hypnotize any dance floor.

Samo DJ closes the excursion with a remix. He handpicked OVFiets from the Borneo vaults, an unreleased techno work out by party crew Marck. Samo’s version brings the original in a more airy, wholesome and percussive state of mind.

Hailing from the heartland of British techno, Sheffield’s John Shima is one of the leading lights of UK electronics. His beautifully crafted sounds have graced a host of imprints including Distant Worlds, Exalt Records and, of course, FireScope. It is to the latter that Shima returns with his long awaiting debut album, The Lonely Machine.

John Shima is a master melody weaver, with this first LP attesting to his deftness of touch. Celestial chords and star gazing synthwork permeate this ten track odyssey. The musical heritage of Shima’s hometown, the elegance, majesty and subtlety of British electronics, is invoked from the needle drop. A range of influences come to the fore in this 2LP. Skirting around the edges of astral ambience and tonal texture are nods to industrial history, the rasp and resonance of rhythms in “Empires”, with the inspiration of Detroit surfacing in the future funk of “Phase Distortion” and “Linear.” Dreamscapes are painted in delicate hues, the fragile movements of “Accepting”, with brooding works adopting thicker basslines and ruffled notes as with “Distrust.” Nevertheless, it is the incandescent brightness of Lonely Machine that truly shines. Radiant pieces of elating electronics, complex and joyful compositions that chime with unbridled hope and open-hearted optimism.

* 180 gram audiophile vinyl
* Insert
* Limited Edition of 1000 numbered copies on Clear & Solid Yellow mixed coloured vinyl

Dead Serious is the debut studio album of American hip hop duo Das EFX, originally released in 1992. Recording sessions for the album took place at Firehouse Studios in Brooklyn, New York and at Charlie Marotta's North Shore Soundworks studio in Long Island, New York.

Dead Serious caused an immediate sensation upon its release. The album was a certified hit, peaking at 16 on the U.S. Billboard 200 chart, topping the Top R&B/Hip-Hop Albums chart for five weeks. Dead Serious went platinum on the strength of the singles "Mic Checka" and the Top 40 pop hit "They Want EFX", by 1993.

Well-received upon its release, Dead Serious has since been regarded by music writers as a significant and influential album in hip hop. Giving it a 4 out of 5-mic rating, The Source's Matty C compared the duo's lyrical style to that of Busta Rhymes, Treach, and EPMD.

Sagats & Madi Grein back from the space aboard vostok3 with the upcoming
groundbreaking sound of brenta. Let yourself be embraced by the flow of these guys,
they will set the dance floor on fire. Right after Mandala project with their mate jay green
& cami, the duo keeps on creating house music, like their colleagues the analogue cops,
steve murphy & dj octopus.. the sound of brenta is back. Highly Recommended!!

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase. Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.

The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Madvillain Vol. 2" follows on from the 2018 release "Madvillain vol. 1" and further explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation. As with vol 1. there is a strong influence of Quincy Jones, Lalo Schifrin and David Shire(Composer of the soundtrack to The Taking of Pelham 123) on the album, and the arranger Rob Mitchell crafts his own sound that inhabits the space between Madlib's production and Quincy Jones' writing.

As a bonus track to the album, Abstract reworks Dabrye's 'Air' and have included the original vocal of MF DOOM. Dabrye's original is heavily soaked in synths and drum machines, with an almost sci-fi, Blade Runner or Tron-esque sound . Mitchell explores this further and is influenced by Bob Brookmeyer's late work 'Electricity', which explores synths and jazz orchestration.

Madvillain Vol. 2 will build on the success of vol. 1 which received enormous support from Gilles Peterson & Huey Morgan on BBC6 Music as well as numerous airplay on Worlwide FM and Jazz FM, and reviews from soulbag in France and ukvibe, qwest.tv, and vinyl district online.

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Multi-instrumentalist/producer extraordinaire - Flevans has been on fire the last few months. With more plays across the BBC 6Music and Radio 2 than you can count on all your limbs combined, his recent singles have proved to be a huge success on the air-waves.

Following up this early enthusiasm with the stellar LP 'Part Time Millionaire' in March, the album was received very warmly by critics and fans alike.

With source material this good it was time to have some fun and at the end of March we released the undeniably brilliant Art of Tones Remix of Who's Got Me – featuring the brilliant Laura Vane on vocals. Deep delicious disco. That's how we'd describe it but don't take our word for it, listen to Todd Edwards, Bill Brewster, Kraak & Smaak, Hector Romero and Francois Kevorkian – all of whom are supporting it. Or listen to Diplo, Mistajam, Annie Nightingale, and Gilles Peterson who have all supported his past releases on the wireless..

Well good as that was, the fun doesn't stop there as the next instalment of remix magic has disco man of the moment Ray Mang giving the special treatment to It Just Goes (feat. Sarah Scott). He's always been a legend but his re-work of the phenomenal handclap band was THE remix of 2018 for the disco cognoscenti and he has turned in some of his very best work here.

Yes - we like to listen to music online and have the convenience of an endless collection always available but for the masochists who like to break their backs lugging heavy boxes of vinyl round to gigs – don't worry – we got your back (broke) by putting both of these killer remixes on one extremely desirable 12"





[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

'The Loop' is the new LP by Los Angeles based polymath Shafiq Husayn, an epic project which saw its inception in 2012 through a series of studio sessions at Shafiq's home, including collaborations with the likes of Thundercat, Erykah Badu, Flying Lotus, Bilal and Anderson Paak. Amongst a close knit circle of friends and family the golden tones of The Loop were created, deeply rooted in ideas of song, story, history, guidance and spirituality. The album bumps, jumps and jangles through progressions in jazz, hip hop, soul and funk, following on from his debut album 'Shafiq En' A-Free-Ka' and adding further to his rich history of timeless, unique music. On The Loop past, present and future are brought together through a psychedelic concoction of time traveling drum machines, celestial string sections and trails of synthesizer vapour. Inflections of Sly Stone, Pharaoh Sanders and Earth Wind And Fire traverse with Marley Marl and Dilla-esqe drums making for an organic yet LA-trifying experience.

Shafiq has brought together an impressive array of LA's musical royalty, enlisting the likes of Thundercat, Miguel Atwood-Ferguson, Kamasi Washington, Chris 'Daddy' Dave, Eric Rico, Coultrain, Computer Jay, Jimetta Rose, Om'Mas Keith, Kelsey Gonzalez, I-Ced and more to provide the backbone to his recording sessions. Drawing in features from an international cast of performers and artists like Erykah Badu, Robert Glasper, Hiatus Kaiyote, Fatima and Karen Be amongst others. Now complete and finally ready for release in 2019 The Loop is truly something to behold. The records is accompanied by a series of paintings by acclaimed Japanese visual artist Tokio Aoyama, who worked in tandem with Shafiq to create a painting for each song on the record.

Having previously collaborated with the likes of Shafiq Husayn, Chester Watson and Foreign Beggars, electronic space funk outfit Paper Tiger return from an explorative journey to the dark edges of the cosmos with their long-awaited third album ‘Rogue Planet’.

The Leeds and London-based outfit (whose collective playing credits include Yellow Days, Werkha, Nubiyan Twist, Cinematic Orchestra & more) once again seamlessly combine elements of live recording and improvisation, their emphasis on blending organic sounds with electronic production techniques. The result is music which is interesting and technically proficient, but remains vibrant, colourful and funky -captivating both in headphones and on the dancefloor.

Just like the journey from debut long-player ‘Laptop Suntan’ to sophomore album ‘Blast Off’, and in-keeping with the band’s space travel fascination, ‘Rogue Planet’ is a cosmic leap from its predecessor. Band leader Greg Surmacz explains: ‘There is still humour and a sense of playfulness hopefully -largely provided by our MC Raphael Attar -but the overall sound is much more lush, jazzy and soulful. We wanted to make something that fits into our universe but hits a deeper emotional nerve’.

With diverse guests ranging from the legendary Steve Spacek on lead single ‘The Cycle’ to Olivia Bhattacharjee (the vocalist of Gondwana Records-signed Noya Rao) on the shuffling, leftfield beats of ‘Bioluminescent’ and Chicago-born but LA-based MC Lando Chill’s quick-fire delivery on the ironically titled ‘Slow Motion’ the album is a rich and varied listen. It’s a record drenched in futuristic soul, brimming with textured samples and intriguing progressions demonstrating the enviable musicianship on show here. G-Funk-esque melodies run throughout, joined by reverberating celestial horns and scattered drum patterns.

The New York Haunted label owner "Drvg Cvltvre" drops 3 new tracks on Concrete Records. Strong synths, acid bass lines and aggressive sounds are the elements that always characterized Drvg Cvltvre's music, in this EP he shows another more sophisticated and personal side: pads and ambient suggestions coexist with the strong basslines and rhythms. A different approach that gives a more deep and mental oriented tone to the tracks. A lot of percussion add raw sound characterized this three tracks, a just balance between the raw house genre and the violent techno sound.

Presenting 'Fire Zone'. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.

The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in 'business parks, strip malls', in 'blue collar luxury'. On a diet of 'diner burgers'. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.

The album continues to reference Zane's Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.

There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps But Ai welcomes you to 'San Fernando Valley', and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.

Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks. (text: Robert Harris)

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

Available april 30th

Heavy heavy heavy gospel compilation.. Including a few tracks that are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed... Also holds Paradise's brilliant "Keep the Fire.".. TIP!!

Although gospel and disco music seem like polar opposites—one is secular while the other has embraced a hedonistic culture—the marriage of the two genres has birthed the uplifting spirituality and dance floor thump found in gospel disco. By the mid-'70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s.

Cultures of Soul Records is proud to present the second installment of Greg Belson's Divine Disco. Belson is one of the world's leading authorities on the funky gospel sound; for this collection he dug deep into his crates to
undercover the rarest independent and private press gospel disco records ever recorded. Greg Belson's Divine Disco sound is one that's been heard around the world from his DJ appearances at Glastonbury's NYC Donwlow stage to LA's Funky Sole to soul nights across
Europe.

Many tracks are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant "Keep the Fire." This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci.