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LINER NOTES BY JOHN-PAUL SHIVER:

Reinier Thijs a.k.a. Thijsenterprise's new project Lahringen begins where most of his previous creations have left off. Through reedy skronking sax, no easy listening aesthetics here, we get that passport to the '80s. The intersection between Lou Reed's old New York attitude and the encroaching rhythmic assault about to hit. Post-punk, featuring steady bass lines—peak demon Jaco to cool as fuck Slits era—in transit.

The first track in, bumping new-wave-jazz bravado, immediately covers those grounds the Dutch native likes to dig in on. He pays tribute to Gato Barbieri with "El Arriero", continuing in that off-kilter mash-up of sound textures. This time its beats and machismo.

But "Sketchy", an original arrangement, taps Reinier's dedication to skateboarding. Named for when skate rats land a trick sloppy, non-smooth, or ugly he does in fact match the sound of the bass with the feeling of ‘meh.’ “The drums and percussion in the track carry a driving pulse, and the saxophone plays a light melody, ping-ponging between the groove of the rhythm section, making the track very repetitive, catchy," stated Reinier.

Spandau Ballet signed their first recording contract on bassist Martin Kemp’s 18th birthday. As soon as they had finished, they headed straight to Utopia Studios in Primrose Hill to cut their debut single ‘To Cut A Long Story Short’. Within a month the single had been released and two weeks later the band were on Top Of The Pops. The song is now acknowledged as the very first New Romantic single, a sound and movement that changed the world.

27th November sees a reissue of the 12” single in its original die cut sleeve on 180g vinyl featuring the ground breaking extended and dub mixes of the track by the visionary producer Richard James Burgess, the practice of which was unheard of at the time. The impact of the 12” was felt on the dance floors of the world, the track was an instant club hit ushering in a new sound for a new decade.

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of BADBADNOTGOOD fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city's brewery and music hall.

Two days later an email from Matthew hits Mr Bongo's inbox... "I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I'd share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out". The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a one-take improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared.

The same quartet feature on Matthew Tavares & Leland Whitty's 2020 album 'Visions'. The plan to promote 'Visions' was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn't happen, but for now 'January 12th' is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

IXRQ on a mission with his first full EP on Stilleben after an appearance on Stilleben VA before. Now to discover and get deeper into the electro sound that is unique for him. Wet basslines and beautiful melodies / atmosphere. After the pandemic this will sweep over the dancefloors of the world. Stilleben Records is very happy for this release and as usual... ITS MORE FUN TO COMPUTE.

Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

Michel Baumann is one of Germany's most respected artists. You probably know him as Soulphiction, his iconic alias Jackmate and head chief of Philpot - a label pushing the sounds of dance music in every possible way since the beginning of 2000.

Now making his debut on the very first release from 18437 Records, after teasing everyone with his recent 12" for Matthew Herbert's Accidental label, Jackmate is back in full swing.

Opening track Modulate Nightdrive is a mind expanding, deep techno affair. Remember when techno had funk and made you sweat? This is it.
Next up is CubanLinx, a percussive machine voodoo exercise. Last but not least, Test Drive shows why Jackmate is still relevant as a producer and worthy of your record collection.
The recipe is simple, a drum machine, a few thick bass notes and whack on some chords - voila - timeless dance music delivered by Michel Baumann.

Label info:
18437 Records is a brand new label by focused on the outer fringes of house and techno.

We are happy to announce the first in anew series of 12" releases under DJ'S CHOICE, Four Flies Records' division devoted to fresh and cool new music in genres ranging from tropical funk and nu-soul to hip hop.

Created during the global lockdown, this new release is a joyful invitation to move our bodies and dance – something that, alas, has become almost impossible in this pandemic-ridden year.
Quero Ver Você Dançar is a collaboration between Rome-based DJ/producer The Rebel, Portuguese DJ/producer Dedy Dread, and Brazilian jazz singer Keila Abeid. Other musicians playing on the track – including Neney Santos (percussions), Marco Ravallese (keys), and Fab Samperi (flute) – masterly contribute to its soulful favela vibes.

Housed in a single jacket with beautiful artwork by Roman illustrator Federica Fruhwirth, the 12-inch single also features a super groovy remix by Mo'Horizons which, with its powerful combination of bossa and drum'n'bass rhythms, makes this release a must for tropical-music aficionados.

Also available on all major digital outlets, with two additional remixes by young Brazilian producers Afterclapp and Brasila Strut.

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

Ottavia Records comes with OTTEP10 from G.I.N.O. who was part of the duo “Code Deploy” (which released music on labels such as Budare). The first track is “Alucinogeno” plenty of atmospher sounds and groove which are mixed with smooth vocals. Then, Dj Honesty comes with an incredible "Alucinogeno" remix, a highly effective dancefloor cut in which you can find house vibes. For the 3rd reference, Franco Cinelli arrives with “Paramus” Remix, a track that will involve you from the beginning with solid bass lines and melodies, in an emotive deeper track. Finally Imperatrice & Groove Circus have versioned paramus and the result is a track plenty of groove and unexpected changes influenced by a music range from acid to minimal.

Beartrax is back on his own taste-making electronic label Melodize with a pair of fantastic new singles that get fine remix treatment by the cult underground figure that is Carl Finlow.

American Beartrax has been experimenting with electronic music for 10 years now, and has built up a fine reputation and discography that often leads to Beatport chart toppers and gets big support from high profile DJs.

Up first is Dream Riff, a low key roller with nice melancholic pads and crisp, crunchy hi hats as well as killer bass. It's a melodic musing that really carries your mind away from this world while keeping your body locked to the drums. Remixing is Carl Finlow, who has been an electro mainstay for decades. His version is haunting and minimal, with spooky bass notes and clacking hits that makes for a deep and atmospheric jam. Repentance closes out with nagging bass and a lead melody that is cautiously optimistic.

This is another classy EP from all involved.

"Matasuna Records" has found another musical treat from the African continent for its latest release - a song by the Ghanaian musician "Mawuli Decker". It was released in 1983 on the rare and sought-after album "Ayo Special" and is available for the first time as a 7inch vinyl single, which is supplemented by an edit from "Renegades Of Jazz". The esteemed London label "Kalita Records" was able to provide the audio material for new masters and is also acting as music publisher with the new "Kalita Music Publishing".

Mawuli Decker was born in 1949 in Ghana, where he also grew up. His musicality has been given to him from an early age, so that he not only attracts attention as a singer, but also plays drums, percussion and bongo. He played in various dance bands, which were very popular in Ghana especially from the middle of the last century onwards and made the Ghanaian highlife known beyond the borders. He has played in various dance bands such as New Planets, Sawaaba Sounds, The Tops, Caprice 73, The Volta Pioneers and others, which have performed in Ghana and other West African countries.
His first release was in 1975 with the band "Dzobi Soundz" on the Polydor label. Further releases of projects with his participation followed, until 1983 when he recorded his album "Ayo Special" at "Otodi Studio" in Lome (Togo) with an illustrious group of musicians.
He is still deeply rooted in music and performs in West Africa and is still very active in recording.

On the A-side is the original version of the song "Lololi-Lomko", sung in the "EWE" language, which is spoken in the south of Ghana as well as the southern parts of Togo. "Lololi" means "There's Still More Love" and "Lomko" stands for "Please love me" - classical themes that have appeared in countless songs in music history. Although a certain catchiness of the track cannot be denied, it doesn't seem cheesy at any point. Mawuli, who also contributes the vocals, creates perfectly formed harmonies through his compositions and arrangements, which are especially apparent in the bassline, guitars & brass and of course the vocals.

This was certainly also the idea behind the edit of "Renegades of Jazz" on the B-side, which did not want to break up and alienate the organic composition. Listening closely reveals the approach: a steady tempo, a more powerful bassline and additional drums and percussions bring the song back directly to where it belongs: to the dancefloors of this world!

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

Celebrating 25 years as a recording artist and 15 years of his label Lazy Days Recordings, Fred Everything teams up with House Legend Robert Owens on ‘I’ll Take You In’. The track was recorded late last year when Robert was invited to perform with Fred in Montreal during a special event by Phil Collins (the artist not the singer!). The event was related to the art installation Bring Down The Walls, which examined racial injustice and the prison industrial complex in the US and Canada, through the unconventional lens of house music.

Robert Owens needs no introduction of course, being the voice behind so many House Classics such as ‘I’ll Be Your Friend’, ‘Mystery of Love’ and of course ‘Bring Down The Walls’. The song was written the night before the studio session after meeting with Fred for the first time.

‘When I meet you, If I meet you, I’ll take you in. You become. Family’

It all came together naturally and has all the elements of a modern House Classic. Bouncy beats, rich chords and a driven bassline but most important : a song with a positive message and purpose deeply rooted in the tradition of this music we call House. On top of the Classic mix, there are 2 BTDW (Bring Down The Walls) versions, more stripped down, inspired by the event that made it possible.

The choice of Remixer was easy, calling on one of his best friend and longest collaborator Martin ‘Atjazz’ Iveson who also collaborated with Robert in the past. Off the heels of his recent #1 remix of St-Germain ‘Rose Rouge’, he brought is A-Game incorporating a latin vibe with a quirk, thanks to his modulars and Moogs rig. Atjazz can do no wrong when it’s time to rework a nice song. A true master with a unique vision and dedication to sound.

'Oblique is one of only two quartet sessions the great vibraphonist Bobby Hutcherson recorded for Blue Note (the classic Happenings being the other).
Both albums featured the seminal pianist Herbie Hancock and drum master Joe Chambers, with the only variable in the line-up here being bassist Albert Stinson. Hutcherson’s breezy opener “‘Til Then,” Hancock’s tremendous “Theme From Blow Up,” and Chambers’ adventurous “Oblique” are standouts of a session that, taken as a whole, is an incredible journey from hard bop grooves to exploratory sonic tone poems. Recorded in 1967, the album wasn’t first released until 1979.

Having established himself in the UK's contemporary Jazz funk scene with a slew of high calibre releases, Dr Rubberfunk holds a reputation for quality productions surgically delivered by an accomplished multi-instrumentalist and producer.

After being hounded to join the roster in his early career, he signed to Jalapeno Records in 2008, and the years since have seen him release multiple albums, produce label artists, such as Izo FitzRoy, and be regularly called upon to bring his flair to remixes across the roster.

In 2018 he stepped back into the limelight to release a series of limited 7" singles, winning praise from fans throughout the 45s scene. This wide-ranging support led to the release of his LP 'My Life at 45' in early 2020, garnering critical acclaim from the likes of Bandcamp, BBC 6Music, Fatboy Slim and Blues & Soul Magazine, to name a few.

Now, and not a moment too soon, Dr Rubberfunk brings us a pair of outstanding beat treats from his back catalogue, pressed to 7" vinyl for the very first time. Featuring 2 tracks originally written for the 2006 Red Bull Beat Battle at the behest of Rocksteady Crew legend Mr. Wiggles, 'Come Back Breaker' & 'Beats Working' have become firm favourites with breaking crews worldwide.

Drawing on his continued influences from the sample-based collages of early cut and paste pioneers, 'Come Back Breaker' and 'Beats Working' suitably highlight the lessons learnt from that era. Coupled with the good doctor's signature drums and rolling basslines, spoken words snippets and needle-drop samples get the party started and carry it on well past bedtime.

Following the well received inclusion of Bonus Beats on all of the 'My Life At 45' series 45s, and upholding the noble drum-a-pella tradition, Dr Rubberfunk went back to his original session recordings to bring you 'Drums Working' - grab yourself two copies and keep the beats working for days!

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Regarded as one of the greats from Detroit, Rick Wade has crafted an incredible discography of tracks blurring the lines somewhere between deep house and techno with a sound and style brilliantly his own. His outstanding 'Timeless EP' from 2017 returns to Elypsia Recordings with an onslaught of remixes delivered by a diverse and unstoppable roster of modern musical mavericks - each respectfully twisting the original magic of Rick's original productions and creating a fresh take in their own style.

The Way I Am' comes in the shape of Tresilo aka Oliver Way (of Detroit Grand Pubahs), Esteban Adame and Ben Long (of Space DJz) and is an absolute belter of a prime-time stormer. Dominated by gigantic synth melodies, the track weaves around percussive alterations with hi-hats, sharp claps and energetic rides paired perfectly with the catchy musical wiggles and kicks. The familiar vocal sample from the original sneaks into play with perfect placement - offering a reminder of Rick Wade's awesome original.

Rick's previously unreleased track, 'Academy' receives the first of two remixes from Seattle house hero Pezzner. The 'CR2' Remix takes the groove into subterranean territories with a heads down bouncer of a track, fully embracing Pezzner's more house-focused approach. A percolating bassline keeps the cut moving ahead while soft, divine pads offer a classy sonic texture suitable for wide-eyed ravers and urban headphone listeners alike.

Detroit's Vintage Future joins the remix roster with his take on 'Planet Deep,' one of the standout cuts from the original EP. The track is absolutely saturated with Detroit soul. Deep, machine driven textures and gorgeous otherworldly melodies rest alongside a truly infectious groove. The famed keyboardist for Model 500's live gig, Vintage Future knows clearly how to craft an incredible groove with his keys, and the sounds from this impeccable remix are tip top.

The second remix of 'Academy' from Pezzner continues his remix focus in a deeper house mindset, with Pezzner delivering even softer sounds, and more intense pad dynamics. This retouch includes the addition of some gorgeous orchestral stabs and organ textures which gives the remix a soulful touch - made to focus on a slightly more melodic approach than the previous Pezzner rework.

This 10th anniversary release of Spaven's 5ive on vinyl for the first time celebrates one of the UK's most phenomenally talented drummers. With roots in the UK club and hip-hop scenes, Richard Spaven brings a fresh approach to the instrument that's at once modern and traditional.

Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Spaven's drumming landed him gigs with vastly varied artists such as Guru, Flying Lotus, The Cinematic Orchestra and jazz/hip-hop vocalist Jose James. His brilliance is evident beyond his world-class performance abilities as he's equally impressive in production and compositional territories.

Spaven's signature drum sound often sees him combine high-pitched, crisp snares, round jazzy toms and small punchy bass drums. His cymbal choices are a sonic contrast of dry, lower-pitched hi-hats, rides and crashes.

Altogether, the drummer's tone could be described as a nod to the past while keeping an ear to the future.

Spaven's 5ive is released as a limited clear vinyl edition for Record Store Day 2020.

We’re excited to presentStill Hope–the firstfull solo EP from Fluidity for Integral Records, following the success of ‘Feeling Inside’, his debut feature on the Glow VA series. This Bristolian is one of the future Dnb collective's rising talentsswiftly making his mark on the scene with a liquid style all his own;refined, subterranean, rolling.
Coming with four explosive tracks covering the full intelligent spectrum; fromthe very deepest and most intricate melancholic vibes, through to the harder edged sounds the listening journey is nothing short of pure vibe. Intertwining atmospheric pads, blissed out chords, slickened percussion and groove pass through harmonic growls and alluring sub basslines of infinitely emotive soundscapes.

Russian and French politics all the same... says blahblah about the pandemic... The dark movies... Need a good Hardcore superhero !!!

After this first track inspired by the worldwide cleaner comes a banger hardcore rave, very very MOKUM 90's style called XTC.

The flip starts with a funny Hardcore Factory Gabba Dancefloor tune. Defienitly ideal for the ducks !

Finally EP ends with a Junkies 303 remix, leaded by a heavy bass and typicall Mokum early samples and beats... Crazy shit !!!

SUPREB Nordcore G-M-B-H OPUS !

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music. His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Details: Alfredito "Sabor" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William "Quantic" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as "salsa" with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations. As Linares himself recounts, "In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few. We had to fight hard for our space in Perú, that's where the swing comes from." That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was "open-ended, some musicians came some days, others on other days_Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre." Though the recordings were cut "live in the studio" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela. Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

“Easy rider, come and take me higher”. When the world seemingly crumbles around, music can provide an escape few other mediums can. For their debut self-titled LP, Velour effortlessly levitate you above the madness below, each track taking a new turn, cruising over hazy flecked skylines, bustling walkways and bleary eyed bedlam. A trajectory that takes in all of jazz’s vibrancies, blending elements of neo soul, broken beat and hip hop coupled with a much-needed sense of hope across nine deep, soul-searching tracks released via WOLF Music Recordings.

A style and sound taking influence from genres and moods, environments and experiences, Essen-based Velour stretch their legs for this, their first full length album. From the off, they nestle you under their wing with the rustling sax washes of opener ‘CLP’ before diving into an epic slo-mo burner, swooping down into the chaos as singer, Eva Czaya, wistfully narrates the scenes beneath.

Unafraid to shift pace within songs, the likes of ‘Pose’, sauntering from soulful summer groove into woozy late night affair, and ‘Tom's Garage’, that progresses from roadside recounting to grungy basement blowout, finished with a sample of jazz-tinged dusty beats, show that accomplished and adept heads rest on the shoulders of these relative newcomers.

WOLF Music mainstay Mr Fries continues to head up production for Velour, his trademark touch capturing the intimacy of Velour’s sound presenting it in a way that’s considered yet raw - nothing feeling rushed, nor cluttered. A separation and space that gives each element the room it deserves to breathe, with short interludes and skits providing the perfect bridge between tracks, guiding you through smokey jazz bars and twilight whisperings.

Moving through the album, Czaya at points wanders in a serene spoken dialogue, at others letting her voice loose, but always with an ethereal demeanour that comes off with natural ease. One of many highlights, ‘Anthony Davis’ shows off this celestial prowess whilst perfectly embodying Velour’s dream-like escapism. A pent up release of creativity, as moody bass tones mix with deft keys, rolling snares sit behind swirling saxophones.

The journey ends with ‘Luminate’, a transcendent closer laced with space-echoed vocals that reverberate around over-driven Rhodes and feverish drums. Cymbals crash, as modulated synths rise, building and building before easing you off into the night and on your way to a parallel universe.

As a body of work, ‘Velour’ is a shining example of the freedom, energy and enthusiasm of the new school of jazz that’s been captivating minds the world over. An instant on repeat staple - let go, feel the flow, it’s what we need in a time like this.

In the mid 90's, Julee Cruise and Eric Kupper were signed to the same music publisher, Warner Chappell. Patrick Conseil, who signed both, thought it would be a good idea for them to get together and collaborate. He was correct in that assumption, and this has lead to an enduring relationship, both creatively and as friends. These two tracks were originally intended as demos, but somehow got leaked onto YouTube, with positive response. Eric thought it would be a great idea to remaster the demos, keeping the raw edge, and give them a proper release, some 20 plus years later. Julee enthusiastically agreed.

Having been influenced by the likes of Roni Size, 4 Hero, Jacob’s Optical Stairway, LTJ Bukem and DJ Die (the latter of whom Eric did a collaboration with), Kupper was experimenting with drum and bass. He could often be spotted in London clubs 'The End' and 'The Globe' checking out and enjoying the music and the vibes.

'My Blue Yonder' is one of the few tracks Kupper has ever written lyrics to. They were inspired by his then toddler daughter, Zoe. One day, Eric found his 3 year old on the floor, wrapped up in a blue blanket, looking blissful. When he asked her what she was doing, she replied 'I'm in my blue yonder'. She had heard the phrase in a song from a children's video. Eric then sat down and wrote a moody yet childlike song about a utopia, based on his daughter's likes and dislikes, her joys and her fears. A compelling blend of orchestral arrangements, frenetic beats, and Julee's unique vocal approach. Julee has often commented that it is one of her favourite tracks she has ever recorded.

This collaboration also led to 'Satisfied', with lyrics and melody written by Julee. An ethereal somewhat existential track, with jazzy chords and pulsating arpeggios, it still has Eric's vibe, within a different music style. Julee's beautifully phrased vocals and lyrics bring the track to life, giving it a clear vision.

This is the first release on Kupper's new 'Hysteria misc.' label. A label for all kinds of music, electronic to acoustic, rock to experimental, and 'misc.'...

In Julee’s words, 'Thanks Eric, for doing this. I really love what we did'.

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising ‘Black Willow’ from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a gruelling tour
with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd and then into the sea, while the band carried on from the stage - an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?” Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart
(and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become ‘Don’t Shy Away’. Loma writes by consensus and, though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an Ouija Board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other - and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular - a vivid work whose light touch belies
its timely themes of solitude, impermanence and finding light in deep darkness. “Stuck / beneath / a rock,” Cross begins, as if noticing her predicament for the first time. Then she adds: “I begin to see / the beauty in it.” A series of guests contributed to the absorbing soundscapes of ‘Don’t Shy Away’, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like ‘Homing’, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band but his completed mix arrived via email late one night, without warning and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross.
“What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno - a perfect ending to an album about finding a new home inside an old one. “I am somewhere that you know,” Cross sings, above a chorus of her bandmates’ blended voices. “I am right behind your eyes.”
First LP pressing on dark green vinyl.

A stunning new production by the Rhythm And Sound ace, drawn from his recording sessions with some of Senegal’s greatest musicians — a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, with guest players and vocalists, including many mainstays of the bands of Baaba Maal, Youssou N’Dour and company.
Jeri-Jeri’s style of Mbalax is swingeingly masterful — heady and hard-grooving, with highly complex, fiercely succinct poly-rhythms — an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Featuring the lovelorn vocals of guest Mbene Diatta Seck, Sabar traditions are fused with furious Afro-Cubanismo, hard funk-rock, and shards of high-life.

Ernestus’ nasty, hypnotic, stripped dub — an Mbalax first — edges in the bass, profiles the talmbat and tungun drums, and scoops the semantics out of the singing.

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.

From the mind of VernoN comes the first release of Eupasia, a label that tells the story of a mythic world built under the ground by some undead worms that have gained human characteristics. This first EP evokes gloomy and misty ambiences, followed by electro rhythms and rough basses, creating tension and resembling claustrophobia feelings.

Craig Charles has been a soul & funk fan since his teenage years in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city's many underground clubs. Craig has been sharing that passion for the music via his 6Music and BBC Radio 2 shows and DJ nights for nearly 20 years. His brand new 'Trunk Of Funk' compilation series, blends up-tempo club classics, with fresh music from the cream of the crop from the contemporary soul and funk scene, and will be Craigs very first vinyl release - a beautiful, double vinyl gatefold LP and he's certainly excited about it, stating; "I can't wait to bring you big beats, bass lines and booga-bloomin-loo! Presenting The Craig Charles Trunk Of Funk Volume 1 as my first ever vinyl release has put a proper wiggle in my walk!" This collection of 21st century disco, soul, funk & afro grooves from includes tracks from contemporary heroes of the scene such as Monophonics, Amp Fiddler and The James Taylor Quartet, it's also peppered with some old school classics and rare grooves from legends such as Roy Ayers, PP Arnold, Miriam Makeba and Patrice Rushen. Craig has personally selected and sequenced this collection to take the listener of a musical journey, the closest thing to having Craig visit and personally DJ for you in the comfort of your own home! It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.

East London-born music legend and all round boundary-breaking innovator, Dizzee Rascal, today announces the release of his 7th studio album, entitled ‘E3 AF’ and new single ‘L.L.L.L (Love Life Live Large)’, out via Island Records.

This new release marks the genesis of a new era for Dizzee and is the first album wholly written, recorded and produced in the UK in over a decade. ‘E3 AF’ is a 10-track layered, purposeful statement of intent, rooted in Dizzee’s inedible ties to both east London and Black British music’s legacy. He sound is sharper, stronger and more self-assured than ever, and it is obvious that he has poured the creative energy of the past few years into ‘E3 AF’ as a body of work. First single, L.L.L.L (Love Life Live Large), features Tottenham born MC Chip and kicks open the door with the force of a steel toe capped boot. Chip, adds another thwack of bravado to the rumbling, Dizzee-produced beat. ‘E3 AF’ confirms Dizzee’s status as an artist still very much in his prime, sonically it draws on the infectious pace of grime and resolutely forward-thinking UK rap. From one song to the next, you are taken on a journey through Black British musical excellence. Ice-cold UK drill drips on Smoke Boys-featuring ‘Act Like You Know’ (produced by MK the Plug) and Eastside pulses with pure grime courtesy of Chubby Dreadz and Platinum 45. Self-produced opener ‘God Knows’ (featuring P Money) and high-octane ‘You Don’t Know’ pull from dubstep, grime and drum ‘n’ bass while threatening to wreak havoc with your speakers. By the time Alicai Harley’s warm up vocals float over sunny syths on the deeply personal ‘Energies + Powers’ (produced by Steel Banglez), the album practically radiates heat. Dizzee Rascal is a unique artist that has inspired many for multiple generations. From his 2003 debut album release, the Mercury Prize-winning ‘Boy In The Corner’ to date, Dizzee has continued to push expectations and boundaries. He is British musical royalty. Every album that followed stacked up another marker of success. Between 2004 and 2017 all album releases blasted firmly into the Top 10 Official album chart, won awards, critical acclaim and amassed Dizzee a huge following of devoted fans. ‘E3 AF’ is set to confirm Dizzee Rascal’s status as the master at the top of his game.

White Vinyl Pressing!
Diffrent Music, So Far.. Speaks for itself really, this brand new vinyl series brings together a handful of carefully selected tracks that until now have been available only as digital downloads. This is the first offering, and a whole lot of love has gone into making this product a real milestone for the label.
The A side, titled "Foundations" brings together two of the original Diffrent Music artists, with their debut single's title tracks; Jekyll - "Drainpipe" slimy and clogged up with bass as you can imagine, now remastered and cut into the analogue realm, along with Arkaik's 2010 "Stress Relief" which has always been way ahead of its time. The flip-side, "Movements", carries two slightly newer productions, Dexta & Hyroglifics "Boxgroove" which caused a lot of damage earlier in 2014 now sounding double thick cut deep into the vinyl grooves, the last and by no means least track is Fearful's 2013 "Tongues" - Not only was this one of the most popular track's that'd ever seen the day of light, but it's also one of the most experimental yet dance-floor jams we have to offer. Everyone involved is truly proud of this record and we all hope you enjoy it as much as we have over the past 4 years or so!

Selva Discos keeps broadening horizons. Its next release celebrates the start of a new series called Novaterra, this time focused on showcasing the music of contemporary Brazilian artists. First up is Zopelar, known not only for his work with the anarchic-techno-punk act Teto Preto but also for the project My Girlfriend and his solo LP, both on Apron Records.

Novaterra vol. 1 by Zopelar is a mini-LP featuring 6 tracks that range from the introversion to the extraversion. In one hand you have an A-side banger like "Be Together", with its addictive looped-sample, and in the other, you get the laidback interlude of "Modo Avião", which sounds like one of those MF Doom's instrumentals – and between both, you will find a whole spectrum of music where you can experience the duel between super crispy beats (a signature in Zopelar's work) and the richness of melodies and harmonies that he's able to knit stitch close to perfection.

The opener "Livre" has a great deep house vibe that makes you think of Prescription Records and Jazzanova, featuring a catchy bossa ad-lib. "NOX" is a Hammond-led tune with a groove bassline and lead that gets you going in no time as if Cesar Camargo Mariano and Larry Young toured together in the late 70's, like, a big, fat jazz-funk tune. "Dias Tensos" is a nervous drum workout led by an automat Tony Williams as if jamming in a 16-bit version of The Tony Williams Lifetime. And to wrap things up, "Boogie da Paz" is one of those perfect comedown tunes – a true tearjerker that works its melody line like a good pill works your serotonin, making it one of those tracks that you keep under your sleeve for those special 6 AM moments on a dancefloor.

The artwork is courtesy of Colletivo Design Studio in Sao Paulo.

Recorded live during their headline North American tour in the summer of 2019, A Royal Affair Tour was a must-see best-of-British-rock show and featured support by Asia with the return of founding member Steve Howe in a special performance, John Lodge of The Moody Blues, and Carl Palmer’s ELP Legacy with guest vocals by Arthur Brown. The Yes performing line up was Steve Howe (guitar – joined 1970), Alan White (drums since 1972), Geoff Downes (keyboards; first joined in 1980), Jon Davison (vocals since 2011) and Billy Sherwood (guitar/keyboards in the 1990s and the late Chris Squire’s choice to take over bass/vocals in 2015), with Jay Schellen on additional drums. Yes performed songs from their storied career, one of rock music’s most prized bodies of work, and their set was in honor of the memory of YES members Chris Squire and Peter Banks.
Continuing the British theme, the set featured Alan White of YES’ tribute to John Lennon; White was the drummer on Lennon’s solo material including the recording of “Imagine.” Of the tour, Steve Howe said “Yes is delighted to headline this celebration of British music which has been so warmly received in America over the past five decades.” Alan White: “I’m looking forward to joining a number of classic British talents that have delighted so many fans over the past half century.” Geoff Downes: “This is a unique celebration of the British contribution to classic rock over many decades. It will be inspirational to be a part of. And I know it is what John Wetton would have wanted.”
A Royal Affair Tour – Live was recorded live at the Hard Rock Hotel in Las Vegas, Friday 26 July 2019.

The packaging features brand new artwork by legendary artist and longtime Yes collaborator, Roger Dean.

Fresh from the release of André Hommen’s More Than This album earlier this year, October will see the German talent follow up with the first of two special remix packages. Set for release on his own imprint, These Eyes, More Than This Remixes Pt. 1 includes stellar offerings from two Kompakt regulars: Robag Wruhme and Jonathan Kaspar.

Beginning with the punchy sounds of Robag Wruhme ’s remix, hard-hitting drum combos are swiftly complemented by reverberating vocals, as up-tempo hats create rhythm to forge a no-nonsense dancefloor cut. Jonathan Kaspar ’s remix rounds things off gently, with a softly-building bassline that ebbs and flows alongside whispering hats and warm, soothing pads.

André Hommen ’s international following should come as no surprise given his already storied career. As label head of These Eyes, the imprint has welcomed standout releases from the likes of Ane Brun and Marc Romboy previously. Another staple of Germany's ever-flourishing music scene, Robag Wruhme ’s productions have found a welcome home on labels as acclaimed as Koze’s Pampa Records, Kompakt and Mute to name a few, whilst fellow prolific-producer Jonathan Kaspar has released two EP’s on These Eyes, then also Objektivity and Acid Pauli’s Ouië in an already-storied career.

Marian Himburg, the artist known as Causa, believes that less is more, both in his productions and his release schedule. With a lean and heavy catalogue built from releases on labels like Crucial Recordings, Infernal Sounds, and Artikal Music UK, Causa is as focused on producing quality dubplate ammo as he is with proper releases. His second chapter for ZamZam is exactly what you’d hope: heavy 140 wares for dark dances- soon may they return!!

"Hiss" is nothing if not cinematic: a queasy melody circling in a dying orbit until it crashes into its first monstrous drop. Led by a squelching, lumbering single-note bassline that crushes like an unstoppable beast freed from its chains, no-nonsense kick-snare power and a steadily rising hum increase our fight-or-flight response until the very end.

Causa says the tune was created after “re-listening to my very first couple of beats and getting inspired by how little I cared about certain placements and how I worked drums at that time… I didn’t follow any rules - because I didn’t know any back then."

“Palms” is the perfect companion, another 140 stormer with drums seemingly built from white noise and distortion, funked-up by syncopated brush hats & an utterly swarming bassline. Add paranoid textures and a bizarre monosyllabic vocal pitched this way and that, and you have another dystopian side to fall in love with in the bunker or the ball.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 8 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind.

These days Mabon Dawud Quintet from Ethiopia is on the trail of Mulatu Astatke. Tramp Records provides the first release of "Abeba" - a funky and stoic track in Amharic mother tongue sung by a high male lamenting voice.

Even more haunting is "Ain't Gonna Wait Too Long" by Thomas Meloncon. The self-taught guitar player recorded this protest song at the age of 20. Voice, guitar, congas and double bass are plenty enough for a heavily pushing song complaining that black man's slavery isn't gone after 400 years. Artist, poet and civil right activist Meloncon (alias Muntu Mwaminifu) wrote and directed theatre and radio plays. His works are collected at Texas Southern University in Houston. "Ain't gonna wait too long" probably is his earliest artistic outing, he just had left school in 1968.

The compilation concludes with a song by Now, a band no one outside Munich might know. "Easy Tune for Dancing" can be found on a record of cultural and concert location Feierwerk form 1990. It really was a surprise to hear the quintet of trumpeter Konstantin Kern and Klaus Pfister on sax playing Afro-Cuban jazz that easily and nonchalant. If Dizzy Gillespie turned up with his bent trumpet and Lalo Schifrin sat in like he did on "Gillespiana Suite" I wouldn't be astonished!

Award-winning International DJ and Producers The Prototypes release their third album ‘Ten Thousand Feet & Rising’. The Brighton based Drum & Bass duo were previously signed to tastemaker label ‘Viper Recordings,’ home to Matrix and Futurebound.

The Prototypes’ potent, hard-hitting production and broadsword body of work on seminal labels such as UKF, Viper Recordings, Shogun Audio, Ram Records, Technique Recordings and Formation. Anthems that have been supported across the entire D’N’B scene such as ‘Pale Blue Dot’, ‘Pop It Off’ and ‘Kill The Silence’.

Their expansive and versatile remixes of acts ranging from Ed Sheeran to Avicii to Friction by way of their sought-after bootlegs of Fisher and Knife Party and unreleased dubplate remixes of Bad Company and Pendulum. Not to mention their extraordinary debut album ‘City Of Gold’ that exploded in 2015, took them around the world several times over and elevated them to headline status.

‘Shadows’ is the first single from the new album, which they explain as ”a throwback to the Hardcore scene from the late 90s, with a piano line influenced by pivotal names through the history of the UK’s rave scene such as Vibes & Wishdokta, DJ Dougal, Slipmatt, and Nookie, to which we added a straight up banger of a bassline”.

Featuring Ulta Music’s singer Lily McKenzie, known for her collaborations with industry heavyweights including Giggs, Conducta and Wiley, as well as featuring on Crazy Cousinz’s 2017 smash hit, ‘No Way’, alongside Yxng Bane and Mr Eazi signed to Ultra Music.

Previously supported by the likes of Zane Lowe, Annie Mac, Andy C, Roni Size, Friction, J Majik & Wickaman, Pendulum, DJ Fresh plus many more.

Commodo is back with ‘Stakeout’ — a standout three-track follow-up to recent EP, ‘Loan Shark’.

Out October 23, ‘Stakeout’ picks up where ‘Loan Shark’ left off, tapping back into the conceptual, crime-ridden Wild West first imagined across tracks like ‘Contraband’ and ‘Hot Pursuit’; “If anyone is working on a 22nd century film noir at the moment, this would make the perfect soundtrack” wrote Bandcamp back in June.

This sentiment echoes across the ‘Stakeout’ tracklist, which again details tracks that marry precision bass-weight and deft, nimble sampling techniques with nuanced flashes of genius; Commodo is no ordinary producer. From the swirling unease and sharp crackle of the title-track to the oddball, industrial swing of ‘Transit’ and menacing, Batman-style lurch of EP closer ‘Crooked’ Law’, ‘Stakeout’ forms the fascinating concluding chapter of Commodo’s latest Black Acre odyssey.

Cosmic dance and spatial atmospherics are at the very centre of Zakmina’s productions, as the Lithuanian producer readies an appetizing EP for Dave Harvey’s Futureboogie, backed with a remix from the always on-point Gnork.

With releases already wetting our ears on Critical Monday, XXX and Roam Recordings, Zakmina spreads his wings across three new cuts. ‘Church Of Madness’ pumps with oodles of new beat drums and soaring synths, anchored by a fat arpeggiated bassline, whilst ‘Déjà vu’ is a first class chugger, its drums as big as 80’s shoulder pads, with glacial keys and breezy vocals comprising the seductive sensations on offer here.

The Balearic synth-pop vibes of ‘Running Amore’ complete the trio of originals from Zakmina, whilst Gnork lays down the lino and tweaks ‘Church Of Madness’ into a solid 808 drum driven ‘Ezoteric Breakdance’ Remix. The Hungarian producer, responsible for some killer releases on Lone’s Magicwire label, Unknown To The Unknown, as well as his own Earth Plates imprint, delivers a futuristic b-boy re-working that’s heady and exhilarating right off the bat.