Buscar:fun 2

Italy's tastiest jazz-funk band is back to what they do best, sharing dreamy summer vibes with this new 2-tracker.
Cannelé is a smooth, sun-drenched tribute to this sweet product of the Bordeaux terroir, that doublebass player and former Saint-Émilion employee Fabio Bordignon knows so well. Beautiful string arrangements come to sublimate the track with a highly cinematic feel.

On the other side is the final studio version of QMQS (Quando mai, quando sempre), which is an old italian expression to qualify people that only appear rarely, and always at the same specific occasions. This uplifting disco tune first appeared in its demo and live versions on previous releases Gusto di Luce and Live at Bolle Nardini, and has finally been re-recorded in a clean and groovy dress to be pressed on this 7inch record.

Transversales Disques proudly presents PANORAMA, an excursion through rare French soundtracks & other rarities mostly never reissued or compiled.
11 forgotten nuggets recorded between 1969 and 1980 by famous masters like Francis Lai, Alain Goraguer and Michel Magne alongside underrated composers like Jean Schwarz, Christian Gaubert or Maurice Lecoeur. A cinematic journey overflowing with moody strings arrangements, funky drum breaks, typical French basslines and psyched atmospheres.

Deluxe Tip-On jacket LP including exclusive and extensive liner notes.
Vinyl Only / No Digital
Remastered from the original master tapes

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

UK's Will Hofbauer, who has released on his own Third Place and other popular labels such as Wisdom Teeth, Rhythm Section International, Rinse Recordings and Aus Music, appears on Ladybug split series 'SF Traxx' These 3 dance tracks are made up of delicate rhythms and Will's unique sound.

A is Will's side, 'Cricket' transitions from breakbeats to 4/4, the experimental dance track 'Clod', and 'Cocodrilo' trips with unsettling synth and unique sound design.
All are wonderfully balanced dance floor tracks, uniquely distorted and loose.

On the flip side is Igaxx, a well-received release on Macadam Mambo and Angis Music.
It features the funky synth track '4.5 SL Trip', the floating breakbeat of 'Liquefy' and the mysterious downbeat cut with swirling bass and raspy distorted guitars 'Ray In Space'.

A split EP then, but one which highlights the individuality of both artists.

Katia und Marielle Labèque, das berühmte Klavier-Schwestern-Duo mit mehr als fünfzigjähriger Karriere,
veröffentlichen ihr neues Album, das der Musik von Philip Glass gewidmet ist als umfangreiche 3-LP Box.
Mit Begleittexten von Philip Glass und Fotos von der Aufführung in der Pariser Philharmonie.
Sein zwischen 1993 und 1996 komponiertes Triptychon, das auf den Filmen von Jean Cocteau basiert, wird
hier vervollständigt. Nach ihrer viel beachteten Aufnahme von ”Les Enfants Terribles”, die hier enthalten
ist, präsentieren die Pianistinnen nun zusätzlich auch die beiden verbleibenden Werke der Cocteau-Trilogie:
”Orphée” und ”La Belle et la Bête”, arrangiert von Glass’ Musikdirektor Michael Riesman.
Nach seiner Porträttrilogie (Einstein, Gandhi und Echnaton) wandte sich Philip Glass für seine Opern
den Werken von Jean Cocteau zu. So greift er den Mythos von ”Orphée” (Orpheus) und ”La Belle et la
Bête” (Die Schöne und das Biest) wieder auf. Er schließt seine Trilogie mit ”Les Enfants Terribles” (Die
schrecklichen Kinder) ab, einem ebenso tragischen wie erschreckend leichten Roman, in dem zwei Kinder
in den vier Wänden ihres Zimmers eine imaginäre und grenzenlose Freiheit erlangen. Dies sind Themen,
die Glass’ hypnotische, unendliche Musik unter den Fingern von Katia und Marielle Labèque aufs Schönste
beschwört.

Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.

The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.

'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.

Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.

There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.

While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down DX7' which has one thinking of the zany cut-and-thrust of KiNK's best work.

Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.

RIYL: KiNK, Modeselektor, Cygnus, Bochum Welt, AFX

Back In Stock!

Debuting on Fluid Funk with a lush and lax voyage dreamy coastal scapes, Dutch artist Uzu Moon dishes out feel-good, Cali-funk-informed vibes by the dozen over the course of four delectably smooth tracks, infused with elements of LA beat, soulful house and post-balearic elevation - including a rework from Cody Currie.

A bespoke late-summer joint to bump out loud in your open-top, "Asa" gets the ball rolling slo-mo style, brittle piano stabs chiming alongside mangled rap samples, playful acid spurts and a languid jazzy shuffle to drive it all. Funky synth hooks blazing, "Sunder, Love" lets off washed-out RnB vibrations over beds of 303-emulating squelch, topped off with a guitar solo a la Santana like you're chilling out in Venice Beach.

"When I Get Home, I'll Know It's Over" then heads for the opposite side of the Pacific with its koto-esque resonances, soft tapping drums and rugged acid loops weaving a melancholia-laced, loungey narrative for the dance floor and not. "Sunder, Love" as reshaped by Shall Not Fade affiliate Cody Currie revs things up two notches further, turning the original into a doped-up chugger, primed for sustained hustlin' n bustlin' in the ballroom with its convulsive congas and vaporous melody fluttering like a groovy butterfly.

Reissue

Carl Finlow has been turning out killer electro since forever and is the man behind the revered Random Factor alias. He started it back in 1994 and since he's brought us four full lengths on 20/20 Vision, with a new one dropping very soon. In the meantime, here's a reissue of one of his most in demand classic EPs that's back on wax after initially making waves way back in 2000. The cuts draw on electro-pop and lithe future disco a la Metro Area, from the sparkly 80s-vibed opener 'Old News', 'Richochet' - imagine dub techno rerouted through guitar-led funk - to the more heads down, deep and moody dancefloor delight 'Update' and the indelible melodies of closer 'Swing'. Timeless machine funk from one of its latter day masters.

Gil Tamazyan is the founder and president of Capsule Labs, a boutique pressing plant, record label and analogue mastering studio in Los Angeles. He has been making cultured sounds for twenty years and does everything from deep house to Italo disco while drawing on a wide range of influences from the words of jazz, funk and more.
-On “Morning Cleanser,” Gil Tamazyan beautifully crafts a deep house record with notes of jazz sprinkled throughout.
-Pressed on 180g black vinyl for the best listening experience.
Gil Tamazyan unveils "Morning Cleanser," a musical gem that masterfully blends house and jazz, showcasing his signature authenticity and groove. The EP begins with "Bumper Car Theater," where Gil's craftsmanship paints a spacious sonic landscape. A steady bassline anchors the track, while ethereal chords drift, inviting introspection and calm. As dawn breaks, the title track "Morning Cleanser" emerges with vibrant chords and infectious beats. The groovy bassline sets the rhythm, and spirited vocals infuse the track with energy, awakening the senses and stirring the soul.
Continuing the journey, "My Body" offers a sultry exploration of sound and sensation. Smooth keys intertwine with dreamy vocals, creating a warm and intimate ambiance. The rhythmic groove carries listeners away, transporting them to a realm of pure musical delight. Closing the EP, "News Cast" weaves a tapestry of rhythm and melody. Powerful kicks and a punchy bassline drive the track, while a sultry saxophone ties back to the opening track, adding a sense of allure. With "Morning Cleanser," Gil Tamazyan delivers a mature and grounded musical experience, inviting listeners to tune in and vibe out.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Johnny Tillotson burst onto the pop scene in 1959 with the classic 'Poetry In Motion' to be followed by other country flavoured biggies such as 'Send Me The Pillow You Dream On', 'Jimmy's Girl' and 'It Keeps Right On A-Hurtin' - all were hits in Britain. Born in Florida, Johnny's big break came when in 1958 he was signed to the small Nashville label, Cadence, together with another unknown act at the time - the Everly Brothers. Johnny has always regarded himself as a
country singer and many of the songs featured here are his own compositions recorded at the height of his career. His style is remarkable in that it has blended the best of country and pop qualities without losing the validity of the basic essentials of either. He had his own style and he has held on to it without making any concessions to a fickle industry that swings from one personality to another at the drop of a needle. We hope you'll enjoy this album of his best recording

Johnny Tillotson burst onto the pop scene in 1959 with the classic 'Poetry In Motion' to be followed by other country flavoured biggies such as 'Send Me The Pillow You Dream On', 'Jimmy's Girl' and 'It Keeps Right On A-Hurtin' - all were hits in Britain. Born in Florida, Johnny's big break came when in 1958 he was signed to the small Nashville label, Cadence, together with another unknown act at the time - the Everly Brothers. Johnny has always regarded himself as a
country singer and many of the songs featured here are his own compositions recorded at the height of his career. His style is remarkable in that it has blended the best of country and pop qualities without losing the validity of the basic essentials of either. He had his own style and he has held on to it without making any concessions to a fickle industry that swings from one personality to another at the drop of a needle. We hope you'll enjoy this album of his best recordings.

Frankfurt’s Max Buchalik is in the early phases of his production career but has many years of experience throwing parties in his hometown, where he is a pioneering force. With his deep understanding of dancefloor dynamics, he now pairs his love of the 80s with rich sound designs on his debut release for Brooklyn-based imprint Melodize.

Opener ‘Higher State’ is a bright house cut awash with sugary, pixelated chords and twinkling pads. Its retro-future charms and colourful, uplifting arps all serve to get hands in the air and heads amongst the stars. Remixer Venice Arms is an alias of accomplished dark disco don Curses, who has long been a fixture in the Berlin underground. His take on ‘Higher State’ is a snappy proto-house cut with 80s synth work and natty chords that are busy and full of fun.

The second original ‘Midnight Passion’ is another vibrant track with throwback synth progressions and retro textures. The melodies shine bright as they rain down over snappy drums and melancholic leads packed with exciting emotions. Remixing this one is Italian DJ, producer and label owner Fabrizio Mammarella, who has a fine discography that takes in releases on DFA, Permanent Vacation and Correspondant, as well as his own Slow Motion Music, Wrong Era Records and Emet. His lively disco-house version is lit up with shiny chords, chattery percussive patterns, woodpecker-like hits, and sustained chords that will dazzle the dance floor.

Italian duo HUMA returns to Angis Music with a brand new, ultra-limited singlesided 10" featuring "Gentle Frames", the ultimate dancefloor anthem. To record
this special jam, they've joined forces with Brothermartino, old friend of the
label and key figure in the Italian underground scene, who has enriched the
magical atmosphere of the track with his flute, turning it into a potent blend of
jazz, funk, and broken beat with a retro-futuristic flavor. Don't miss it!

Egle Martin enjoyed a long career as a dancer, actress, singer and played an important role in the promotion of Afro roots in Rio de la Plata and in reclaiming Afro-Argentine culture. Her performances were fresh and powerful, showcasing diversity and, later on in her career, her desire to diffuse Afro-Latin American culture. By the time this single was recorded, Egle Martin had already performed in several plays and films; she had already sung with Dizzy Gillespie and the Berlin Symphony Orchestra; she had already released an album with composer and bandoneon player Astor Piazzolla. And she was already beginning to frequent the Casa Suiza, with its gatherings and carnivals in the neighborhoods of San Telmo and San Nicolás in the beautiful Buenos Aires of the 1960s, teeming with happenings and avant-garde galleries. Egle sings in Spanish and her voice dazzles with a very distinctive sound and texture as she performs these rhythms; you can clearly appreciate the freedom and power in her vocals. In 'El Dombe' tenderness permeates the lyrics as she tells the world what this dance and its cadenced rhythm is all about. 'Dombe Bariló' is bolder and more sweeping in scope: the ritual and empowering message is uplifting... Roberto Montiel's arrangements are a prime example of the brilliant fusion of soul, funk and Latin American music, all linked through Afro roots. Originally released in 1970 on Music Hall in Argentina, it has become an elusive and sought-after record over the years, at the top of many collectors wants list due to its amazing dance floor energy. First time 7” reissue. TRACKLIST Side A EL DOMBE Side B DOMBE BARILO

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge

A full grip journey through sonic planes . Through rhythmic heat pulling apart plate metal to outside the beyond . The Broken Gravitron Ep is a concept record whose artwork and tracks tell a story of a the famous fair ride breaking and flying into oblivion. With a slower tinkered out funk electro opener ‘Spun Light’ . Following tracks ‘Middle Man’ and ‘O Ring ‘ set a course thru acidic techno lines and heavy pressure drums . Finally ending in the grand gravity push n pull basslines of ‘ Oblivion Found ‘ . For fans of heavy exploration .

Truncate is back with his first EP in 2 years inviting label resident Kai Van Dongen on remix duty. Raw, jackin, straight forward machine funk. Expect no less.

Tim Tucker and Bachflora team up for this brilliantly boogie-infused new collection of cosmic disco sounds and future house delights. It's a collection that shows off their considerable songwriting skills as well as production chops as the tunes blend a far-sighted sense of futurism with a hint of melodic nostalgia. Some are part starters like the playful 'Star Key' while some are more laid back and funky sounds like 'Cosmic Dreaming, Now We Jamming!' All in all, they make for an adventurous and cinematic journey that takes mind, body and soul up and away amongst the stars.