Search:fun brothers

EXPANSION introduce a brand new series of 10” CLASSICS back to back with the
coolest CONTEMPORARY takes of the same track. First off is the 70s masterpiece by
the MIZELL BROTHERS, as originally recorded by the master of the Hammond organ,
JOHNNY HAMMOND in 1975 on FANTASY REORDS – a jazz funk, timeless ‘rare
groove’ previously only a single as a 7” edit but glorified here in it’s full 6 minutes. The
new version is by QUASIMODE, the hippest new jazz quartet from Japan, signed to
BLUE NOTE RECORDS. They have taken the jazz world by storm and have recorded a
version of “Los Conquistadores Chocolates” worthy of comparison to the original and
on vinyl here for the first time.

The Daddies of riff, of shuffle, of southern swing, oozing back beat and
funky chicken, all true ‘Sons of Memphis’, these six experienced performers, in the pure Stax/Atlantic style, roll out a profound Deep Soul, carried
by a hot and groovy base, a V8 sounding drumbeat, a haunting trombone,
a charismatic and powerful vocals, a Hammond Leslie roaring in unison
with the spring reverb guitar and its sixties tremolo.
With their Zoot suits, black and white Derbys, dark glasses, this Take 6 knows
the songs, history and all the tricks of the soulman’s trade, with that little extra, the irresistible French touch blazoned by their Pyrenean roots in the B arn
region.
This energetic combination is an incredible firework display on stage, and with
them the Deep Soul remains what it must always be... A music of hope! A
shared experience! The ultimate music of the soul!

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

From the UK, South Africa, France and Australia, Inner Shift Music presents their Collective Continents II release, with Mark Hand, Platform 001, G-Prod and Leo Gunn. The Ep starts with Take Some Chances which has Jazz influenced pads, chords and changes with an addictive hook, by Mark Hand who has recent releases on Soul Print and Apollo. Next comes The Last Letter by newcomer Platform 001 - a deep house track with some funk style house chords and an inspiring spoken word poem, which holds the listener's attention throughout.

On the B side we have the Gaugain brothers G-Prod (who have releases on R&S and Nightflight), with their track Horizon which has a more techy feel with its moody pads, melodic lead and subtle but driving bassline.AAThe EP is complete with a whole other level of head-nodding deepness and warmth, with Aheeoo which you would come to expect from Leo Gunn, who is noted for his multiple appearances on Deep Explorer.

Deep, jazzy, techy, warm and diverse, this EP is everything there is to love about deep house.

First time on LP: Praised by NPR for their “upbeat, poppy vibe; energetic,
driving rhythms; and virtuosic solos,” Twisted Pine released their
second full- length Right Now on August 14, 2020 (Signature Sounds).
Exploring a sound they call Americana funk, Twisted Pine takes traditional music in exhilarating directions. Bassist Chris Sartori writes, “This album is easier
to feel than describe. We’re rooted in bluegrass, continually inspired by explorers like Bela Fleck, Jerry Douglas, and Sierra Hull. Right Now takes this heritage into a new dimension. Our bluegrass is jazzy, our indie folk is poppy, our
grooves are funky.”
Twisted Pine (Kathleen Parks, fiddle; Dan Bui, mandolin; Chris Sartori, bass; Anh
Phung, flute) grooves with fearless improvisation and intricate arrangements.
“They were once bluegrass,” wrote The Boston Globe, “but ... this Boston band
has become something else, a wider version of stringband, boundary jumpers
akin to outfits like Punch Brothers and Nickel Creek.”

Working his mellow magic on the Growing Bin, Sorcerer entertains your inner child with eight tracks of instrumental west coast pop suitable for dancing, dreaming and surfing a wave or two.
While Basso sat in a Teutonic treehouse, feeding his head with the sounds of the woodland, Dan Judd danced on the sands of San Francisco's Baker Beach. Stretching between them, like the world's longest tin can radio, was the Dream Chimney. This legendary forum, run by Ryan Bishop, better known as The Beat Broker, helped to launch a thousand labels, and the Growing Bin is one of them - all hail the Chim!
Here, Dan, naturally mystic in his Sorcerer guise, satisfies all our sensory needs with a Kinder Surprise of sweet melodies, coastal cool and playful rhythms inspired by his children's earliest responses to music. Following his feelings and avoiding overthinking, he creates open, enticing and accessible cuts; each living and breathing that mellow magic you only get on the West Coast.
'Kids World' kicks into gear with the spheric bass of '2000 Studio', a bouncy embodiment of that spacious San Francisco sound. There's a nod to nu disco but the dreamy dubiness takes the track much deeper, especially as those surf guitars start to detune in the summer heat. The breezy fretwork continues on 'Disco Drums', topping a wriggling groove tailor made for the terrace. Shades of rave refract through a healing crystal at the midpoint, encouraging al fresco dancing from sunrise to sunset. The A3 sees Sorcerer get into the groove of 'Bahia Brothers', rolling that rubberised B-line out of his own Paradise Garage before putting the top down for the carefree Balearic pop of 'Spray Paint.'
The B-side glides into being via the night dubbing grooves of 'Fire Feel', a reverb laden journey though glassy tones, off beat perx and gorgeous chord progressions. Next up, the new wave inspired 'Crunchy' translates Sheffield's daring synth pop into a wide eyed blast of psychedelic house, boosting our mana ahead of the loose limbed and light footed 'First Wave'. Ringing guitars reference Ghanaian highlife, shimmering in the heat haze as Dan funks up the drum kit ready for the broken beat and blissed out energy of sundowning set closer 'Escape Route'.

For number 89 in the Brazil45 series, we present a no-nonsense Brazilian funk / samba rock double-sider courtesy of the mighty Golden Boys and Silvio C sar. The Golden Boys were a quartet formed in 1958 by the Correa brothers; Renato, Roberto, Ronaldo, and their cousin Valdir Anuncia o. They enjoyed a stellar recording career, from the 50s through to the 90s, with members of the group still involved in music to this day. For this selection we headed to their self-titled 1975 album released on Odeon and cherry-picked one of the group’s funkiest moments, ‘Segura Na Cintura Dela (O Gavi o)’. By now performing as a trio, they enlisted Paulo Deb tio of Lemos E Deb tio 8206;fame as executive producer and, on the controls, producer Milton Miranda. Miranda was a silent figure behind so many of the much-loved classic Odeon / EMI releases of the 60s and 70s. ‘Beco Sem Sa da’ is another Odeon release, and another classic produced by Milton Miranda. Taken from Silvio C sar’s self-titled 1971 album, here the prolific singer and composer delivers a swinging samba rock / groove. With fantastic arrangements by Geraldo Vespar, this addictive swing was reconstructed in the 2000s when Drumagick sampled it for their track ‘Sambarock’. So here we have two slices of Brazilian dancefloor pressure just waiting to take centre stage again.

- Next installment in BRAZIL45 Series.
- Brazilian funk and samba rock double-sider.
- Both tracks produced by Milton Miranda.

Ric Robertson is an American original, pulling influences from the greats
that came before, but wholly responsible for building his own
creative universe.
His new full-length record ‘Carolina Child’ is nothing short of an opus, taking
his wealth of musical proclivities from the mountain music of his home state of
North Carolina, all the way to the jazz and funk of his current homebase in New
Orleans and fueling it into a gonzo vision of Americana that is equally innovative as it is simply beautiful to hear.
As a songwriter, Robertson takes his inspiration from the fragility of our inner
lives and the small moments packed with meaning that surround us. This is
John Prine by way of New Orleans, Harry Nilsson in a Nudie suit, a stoned Dr.
John lost in Nashville, Bill Monroe on mushrooms listening to Bessie Smith. It’s
a riot of juxtapositions and a chaos of imagination anchored by Robertson’s
soft, flowing voice, and his uncanny knack for chronicling our lost lives.
‘Carolina Child’ was produced by Dan Molad of Lucius, and features Jess Wolfeand Holly Laessig from Lucius plus a whole host of Robertson’s friends and
picking partners including Dori Freeman, Oliver Wood (The Wood Brothers),
and Logan Ledger.
Listening to the album’s ten tracks, it’s clear that Robertson one of the best
kept secrets of Americana is poised for a breakout moment with ‘Carolina
Child’. Step into his boundlessly creative multi-verse and you’ll find nothing
short of American songbook excellence.

Hell Yeah's debut Buena Onda compilation proved hugely successful. It also kept people drenched in exotic dance floor sounds while the pandemic has kept everyone apart. Now the Berlin-based party is back and on a mission to redefine what Balearic means with a first-ever vinyl-only sampler featuring exclusive, unreleased tunes and remixes compiled by Marco Gallerani and Gallo from brothers around the world.

The a-side is all about new kids on the block: Australian cyborg disco don Kayroy appeared on the label in 2020 with his Imaginary Expeditions EP and now links with his friend Jaspar Robinson, a dreamer with his head amongst the stars. He provides the vocals which speak of an astronaut lost in space and aching for a missing loved one while sombre chords and downbeat bass make for a beautifully longing groove. It's a blue-eyed Balearic classic. The up-and-coming Italian Feel Fly of labels like Internasjonal then goes widescreen with his 'Esperanto.' The chords shimmer, the baseline percolates and the guitar riffs arc up to the heavens for some late-night intergalactic bliss.

The flip side features more mature and established artists: label regular Max Essa offers a remix of The Vendetta Suite 'Neon Secrets,' which has naive Eastern melodies and rueful 80s chords with a subtle new age feel that dumps you right on the beach at sundown. Last of all come Chris Coco and Micko Roche with true-school Balearic classic complete with cicada-like shakers, mellifluous Spanish guitar licks, flutes and soft, frothy, rolling beats that break like waves on a sun-kissed Mediterranean coastline.

Balearic Beats 2021 Sampler 1 offers something for every hour of the day, making this a perfectly functional 12" for the modern Balearic DJ.

Support by Prins Thomas, Calm, Chris Coco, Andy Wilson (Ibiza Sonica), Pete Gooding, Severino (Horse Meat disco), Will Nicol, Phil Cooper, Leo Mas, Mike Salta, Balearic For You, Jon Sa trinxa

Exclusive vocal c/w instrumental mixes of Betty Lou Landreth’s ‘I Can’t Stop’ on this lead-single for the forthcoming Backatcha re-release of Betty Lou Landreth's in-demand 1979 album, "Betty Lou” (cat# BK037 – to be announced). Expanded to a double album, it features the original studio recordings along with bonus material and alternative takes. The late Betty Lou Landreth had already paid her singing dues long before she walked into Studio A at Detroit’s Superdisc, touring with the USO and performing with R&B and Jazz players on the live circuit.

‘I Can’t Stop’ producers Joel Palmer and Charlie Gabriel recruited some of Motor City’s top fellow musicians for the session, including Gabriel’s longtime friend and housemate, trumpeter Marcus Belgrave, arranger Travis Biggs, drummer J.C. Heard, Motown Funk Brothers’ pianist Joe Hunter and trumpeters Herbie Wilson and John Wilson, keys player Emmanuel Riggins, bassist Hubie Crawford, the Body sisters and many more.

"We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together."

Joel Palmer, 2021.

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

The ethereal harmonies of Eve were ever present, but the psychedelic girl group feel of their previous band, Honey Ltd, was replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s. In the late 1960s, four teenage girls from Detroit hitch-hiked to Los Angeles to follow their dream. Known as the Mama Cats, their combined voices, created a magical instrument, a holy harmonic vehicle built upon the inspiration and improvisation of four close friends. Their ethereal voices and heavenly harmonies sounded like no one. Upon meeting Lee Hazlewood in Los Angeles, he was bowled over, offering them a recording contract on his label, Lee Hazlewood Industries (LHI), renaming them, Honey Ltd. Their sole 1968 LP never saw the light of day. Out of the ashes of the group, the three remaining members continued on under the name Eve. In the spring of 1970, Eve and producer Tom Thacker went into the studio to record "Take It And Smile". The ethereal harmonies were ever present, but the psychedelic girl group feel of the Honey Ltd album were replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s (Think John Philips "Wolfking Of L.A.). Backed by another amazing group of musicians, the recording sessions included members of the Wrecking Crew, Elvis' TCB band, Ry Cooder, Sneaky Pete and Glenn Frey from the Eagles. Featuring songs by James Taylor, Fred Neil, The Gibb Brothers, Burt Bacharach, Bob Dylan, Mac Davis and a handful of amazing originals including the beautiful "Dusty Roads" and the title track "Take It And Smile," co-written with Glenn Frey. Upon its release, the album failed to find an audience. After recording one last song, "So Tired" for The Vanishing Point soundtrack, the girls went their separate ways, each continuing to sing professionally with artists that include Bob Seger, Neil Young, Tina Turner, Loretta Lynn and countless others. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Eve members Laura Creamer, Temmer Darigan & Joan Glasser and GRAMMYr-nominated reissue producer Hunter Lea. This record is the first release in a new series of full albums reissues from the LHI (Lee Hazlewood Industries Records) catalogue that Munster will be releasing over the next months. All the releases include liner notes and exclusive interviews with the artists, rare photos, and restored original artwork

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

Am 16. Juli veröffentlicht Fantasy Records “Layla Revisited (Live At LOCKN’)” der Tedeschi Trucks
Band - eine einmalige Live-Aufnahme des Derek & The Dominos-Albums “Layla and Other Assorted Love
Songs”, das mit Special Guest Trey Anastasio aufgeführt wird. Aufgenommen am 24. August 2019 auf
dem LOCKN’ Festival in Arrington, VA, fängt Layla Revisited die Tedeschi Trucks Band in ihrer besten
Form ein, wobei Anastasio die perfekte Ergänzung von Gitarrist Derek Trucks und Gitarristin/Sängerin
Susan Tedeschi darstellt.
Der Auftritt von Layla kam für die Fans völlig überraschend. Ursprünglich nur als ”Tedeschi Trucks Band
featuring Trey Anastasio” angekündigt, erwähnten die Künstler nichts von der Musik, die sie im Vorfeld
fleißig geprobt und geplant hatten. Aber die Verbindungen zwischen der Band und dem Album sind tief
in das Gewebe ihrer Existenz eingewoben. Angetrieben von zwei der größten Gitarristen des zwanzigsten
Jahrhunderts, Eric Clapton und Duane Allman, wurde Layla and Other Assorted Love Songs zufällig am
9. November 1970 veröffentlicht, dem Tag, an dem Susan Tedeschi geboren wurde. Später waren Chris
und Debbie Trucks solche Fans des Albums, dass sie inspiriert wurden, ihren erstgeborenen Sohn Derek zu
nennen. Jahrzehnte später war Trucks fünfzehn Jahre lang Mitglied der Allman Brothers Band und tourte
ausgiebig mit Clapton. Die Verbindung zwischen der Musik und den Interpreten ist so tief, dass sich dieses
Album fast schon vorherbestimmt anfühlt.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

7" of this funk classic re-issued for the first time from recently discovered Master Tapes.

Funky Soul (originally titled "Going To See The Man") was a routine crowd pleaser during live shows that even had its own dance "rock the ship." This was the part two of the song. It was part one that was created in the studio as a riff off of part two. The raw energy of this song when performed live created hysteria and drove spectators into a frenzy. It didn't take long for word to get around and catch the attention of the famous WYLD DJ Larry McKinley. McKinley wanted to capture this magic onto record and helped arrange the session at Cosimo Matassa's studio. He drove Isaac Hayes down from Memphis to New Orleans in 1968 and organized Issac Hayes to arrange the horn section on this record while he was working with the Okeh label and developing an emerging artist named Margie Joseph. It was during this time that Margie recorded two singles Why Does A Man Have To Lie/See (Okeh, 4-7304) and Show Me/A Matter Of Life Or Death (Okeh, 4-7313).

David Batiste & The Gladiators were a band David Batiste and several of his brothers formed while they were in High School in New Orleans back in 1961. The band won a talent show in 1965 at Harlem's famous Apollo Theater and are the pioneers of what is now known as "Funk." David Batiste & The Gladiators were legendary mainstays of every bar in New Orleans that every band was hustling trying to get booked at.

It's no wonder that this song was famously complied on BBE Records and Ubiquity in the 1990's, rediscovered and performed by Miles Tackett & The Breakestra in the early 2000's. Those compilations contained audio sourced only from the vinyl record originally pressed up twice in the early 1970s and sought after by collectors and DJs for years and years. This version is from a direct master tape transfer from recently discovered NOLA tapes. But wait… The party's just started. An entire album's worth of 1960s previously unreleased David Batiste & The Gladiators material from recently discovered master tapes is in the works and forthcoming on Family Groove Records.

Clear Vinyl

Eugene Synegal's early career as a teenager was the guitarist of Sam & The Soul Machine before moving to Los Angeles to join the group Sage and later in the 1970s recording on Lee Dorsey's Night People and The Neville Brothers records.

These previously unreleased recordings were birthed in the early 1970s, sometime during Eugene's trips back and forth between Los Angeles and New Orleans. A couple years after these recordings were immortalized onto 1/4" reel-to-reel tape an unusual crime scene involving Eugene and his girlfriend reads as if it was a chapter taken directly out of a pulp fiction novel. An Australian socialite named Patrica Galea, remained unsolved for 30 years. The robbers took $400, two diamond rings, a $1,400 cigarette lighter and two mink coats. They failed to collect Galea's $6,402 which was hidden in her freezer. This money was sent from Australia and was being used to fund Eugene's album as well as starting a new music publishing company in Hollywood. This was the life of Eugene. Playboy extraordinaire, jet-setter and guitar chops that would turn the head of Hendrix!! Around 2006 the owner of the West Hollywood apartment expressed a desire to learn more about its history and met with detectives who were unable to locate the file since it was buried in the cold cases section. The files were found, the case was reopened, solved and two men were arrested in 2007.

These recently unearthed 1970s recordings by Eugene are a reflection of his pure soul as well as a blend of psychedelia and funk that the band Sage was experimenting with in Los Angeles during that time period.

From a historical sense, these two recordings are significant because it bridges the historical and influential New Orleans music scene during the early 70's with the psychedelic rock and folk scene that was emerging just walking distance from the West Hollywood apartment that Eugene was living in with Galea during that time.

Eugene's unique guitar style paired with a deep-rooted gospel sensibility is a window into the artistry and songwriting capability of this incredibly talented man.

This is a pure labour of love, not only is Daniel Vangarde a musical legend, he created, produced and wrote, (together with his musical partner Jean Kluger) acts like Gibson Brothers, Ottawan and La Compagnie Creole, he’s also the father of Thomas “Daft Punk” Bangalter, one of Mighty Mouse’s musical heroes.

Mighty Mouse reveals: I loved the original, and wanted to keep the energy of it in my remix. I kept a lot of the music parts and added a few synth elements and re did the drums to support what was already there. It was much fun, and a little nerve racking. When I got the stems it was like a history lesson and I could hear where Daft Punk must have got some of their influence from, just listen to those vocoders!
I got the seal of approval from Daniel too, as he said…“It did put a great smile on my face too! congratulations, the remix is really good.

The remixer understood the spirit and energy of the music, this is rare.” Now, talking about a compliment!

Mighty Mouse’s mind was blown at this point, so we are excited to bring you this masterpiece in 12” format!

Next up on Slow Motion, Rodion and Fabrizio Mammarella are back with another precious collaboration EP since “Appennini” released in 2012 but never forgotten in the fame.

They have been like brothers for many years, and after many collaborations, these two producers are well attuned to each other in their musical soul. Rodion and Fabrizio are both very sophisticated producers and known for their dramatic melodies, mixed with synthesized funk and disco, which turns it into emotional freaky electronic music.

All tracks are recorded in Mexico City, bringing in Mexican artist Mijo as a featuring on the track ‘’Cerro Gordo’’. Moreover, italo-belgian duo Front De Cadeaux join with a remix that grabs elements from both the original tracks, reworked in one timeless piece of music.

We are proud and delighted to present to you: “Sierra Madre”.

In view of the immense Black Lives Matter mobilisation in reaction to the murder of George Floyd and the comparatively meagre societal reaction to the attack in Hanau, the question arises: How come our society does not show the same empathy and solidarity towards its own fellow citizens with Kurdish, Turkish, Bulgarian, Bosnian, Afghan migrant backgrounds or members of the Roma and Sinti?

How limited is our postcolonial discourse if we are unable to address the racist exploitation of those who repair our cars, deliver our parcels or harvest our asparagus?

It’s all a sham. Shake it off like a biometric photograph. Shake off that false consciousness. The Black Diaspora is a transatlantic lie invented by music curators and journalists. Embrace this nuanced return to structures and superstructures, to articulations and historical constellations as analytical tools.

Allow me to dampen your expectations. This is not the sound of decolonisation. This is no compilation of BLM protest songs. This is no celebration of Black emancipatory struggles. You will not be able to play this at your hip post-pandemic house party. This will not go down well with your woke friends. This is music for the square in the room. For that reluctant BAME/Person of Color repelled by your fetishisation of the African-American experience.

This is music for gated communities. This is Fehler Kuti singing of class relations, not of identities and positionalities. This is Fehler Kuti resisting.

Listen to these songs of infrastructure and appraisal of the welfare state. Join me in mourning the broken promises of prosperity for all. Send that “Ausländer“ of your mind to heaven. Colonialism fucked you up. Platform Capitalism is keeping you in chains. Are we to unionise all human and non-human workers at Amazon? Will modernity always have that "forever nigger“? What about those dispossessed field hands harvesting your asparagus?

All is lost. The system is rigged. Because all histories, gestures and identities have been absorbed into this late capitalist apparatus we call diversity. It can integrate anything and anyone. It made me. It is the price of the ticket. And it is unable to challenge its own premise of an atomised society. As if you and I had so little in common.

They will try and help you. They will build a museum for your history and a scholarship program for your future. I warn you. Don‘t let them give you a name. Resist appellation. Don’t get that German passport. Don‘t eat asparagus.

Fehler Kuti, Spring 2021

All songs by Julian Warner. Produced by Markus Acher and Tobias Siegert.

Markus Acher – drums, percussion, backing vocals Micha Acher – sousaphone, trumpet Cico Beck – synthesizer Jenny Bohn – backing vocals Pacifico Boy – vocals Katja Kobolt – spoken word Theresa Loibl – bass clarinet, backing vocals Sascha Schwegeler – steeldrum, kalimba, percussion, backing vocals Tobias Siegert – bass, synthesizers, percussion, backing vocals Julian Warner – piano, memotron, vocals

recorded and mixed by Tobias Siegert at Minga Records, july – december 2020 mastered by Moritz Illner at Duophonic

Cover art and photography by Andreas Neumeister. Layout by Sascha Schwegeler.

Fehler Kuti “Professional People” is part of the same multiverse as “The History of the Federal Republic of Germany as told by Fehler Kuti und die Polizei”. A production by Julian Warner. In cooperation with Münchner Kammerspiele. Funded by the Department of Arts and Culture of the City of Munich. Released by Alien Transistor.

In Switzerland, the Ellis Mano Band are not unlike the Wrecking Crew or
the Funk Brothers.
They are top-flight studio musicians and elites in the Swiss music scene. Although they spent years making music with other artists, the band members
never got much time to make music of their own until now.
“We chose the album title “Ambedo” because it reflects the state of the process of recording an album,” says guitarist Edis Mano. “Ambedo” refers to the
tendency both to reflect and to absorb. Musicians like us do it all the time,
especially when we compose new songs and create a new album.”
The first single “Keep It Simple” refers to the one subject on the planet that
certainly is not simple at all... love.”

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

Hong Kong based hypno-tropicalia duo Blood Wine or Honey are set to release their second album 'DTx2' on 30th June 2021. Made up of seasoned multi-instrumentalists James Banbury (synths, bass, percussion, cello) and Joseph von Hess (vocals, clarinet, sax, percussion), they create a heaving, heady brew of brazen sax themes, lo-fi/hi-tech electronics, densely layered cello inflections and motorik drums.

These explorations start with the dance-floor then go above and beyond, taking notes from post-punk and tropical polyrhythms, always anchored by the bass weight of the sound system. Their distinctive sound is created in the industrial warehouses and hidden rural settlements of Hong Kong, surrounded by the low-end throb of heavy machinery, the lingering scent of hand sanitiser and the humidity of the South China Sea.

Written and recorded during 2020-21, new album 'DTx2' looks ahead to an uncertain future, drawing deep on their experiences and influences and welcoming a host of co-conspirators.

Jean Daval, aka Preservation (credits include Yasiin Bey fka Mos Def, MF Doom, RZA, GZA, Raekwon, KRS-One, Aesop Rock), provided truffle-hunted beats, synths and basses, which, when put through the BWoH mangle, emerged as 'Messenger'.

Superstar and old friend of the band KT Tunstall came to work with BWoH after they contributed a DJ mix for her lockdown 'KTRave' on Instagram. 'Attraction' was the result. Wonky bass, found-bounce beats and Buddy Rich drums smashed out by Tim Weller (Marc Almond, Future Sound of London, Goldfrapp, The Chemical Brothers, David Axelrod) resulted in a bonkers production with passionate vocals and layers of harmony.

'I Shall Rush Out As I Am' is a collaboration with legendary pop provocateur Paul Morley and Janice Lau of Hong Kong band David Boring. The track is based on the words and the spirit of sci-fi writer, satirist, literary critic and radical feminist Joanna Russ and took shape quickly, with tinges of A Certain Ratio and memories of Suicide, provoking Janice to an authentic scream-of-consciousness delivery.

Multi-talented London singer, musician and composer Kamal (Neighbourhood Recordings) took time away from being the Next Big Thing to transform 'Testing Time' with funk-edged keys. A key figure in the extraordinary '90s Hong Kong music scene, Zoë Brewster contributed vocals.

Roughly divided, the album's first set of songs make relatively short statements, punchily self-contained with common threads. The final four tracks, Testing Time, Embers, Embrasure

and Echt Embrace disperse into flights of mantric fantasy, with quicksand time-signature shifts and key-changes emerging into a more introspective zone with a fervent pulse, a shift in energy: stamina over speed.

• Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up
the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
• AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled
bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
• Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have
all borrowed sections of their grooves.
• ‘Cover To Cover/Soul To Soul’, is a collection showcasing their take on classic recordings, both Soul and otherwise and
demonstrates why they were totally embraced as an authentic R&B band in the USA.
• ‘Cover To Cover....’ also includes for the first time on vinyl, their 2017 recording of The Isley Brothers ‘Harvest For The
World’, which was produced by and features Chris Jasper.
• Average White Band remain highly influential and this collection, shows why they have remained so powerfully important.





e a5. I Heard It Through The Grapevine [Live – Edit]

[g] b2. I'm Gonna Make You Love Me [Live]

A stunning collaboration, this is Ray Charles' second "true" studio album for Atlantic, after The Great Ray Charles. While he released R&B singles for the pop market during his time with the label, he used his LPs to explore modern jazz. Here he is heard both on piano and alto sax.
The mono version is available on vinyl for the first time since release date with lacquers cut straight from the original master tapes.

The Winston Brothers are taking Colemine back to its roots. Heavy drums, breakbeats, nasty funk, and all instrumental. The debut 45 from this German based funk powerhouse is just a tease for what's to come from their forthcoming LP. Very much coming from the boom bap side of things and sharing production credits for Bacao Rhythm & Steel Band, that makes sense. This is a 45 tailor made for DJs so grab doubles.

While the powerhouses of the loose Native Tongue collective were undoubtedly De La Soul, A Tribe Called Quest and the Jungle Brothers, the wider family threw up some intriguing groups and unforgettable records.

Black Sheep – the duo of Dres and Mr Lawnge – were a natural fit for the Native Tongue vibe, displaying the same kind of wit and humour as their counterparts, with an off-kilter approach that helped them stand out.

While they only released one truly amazing album – their debut ‘A Wolf in Sheep’s Clothing’ was a standout in 1991, one of hip-hop’s best years for LP’s – it spawned five unique singles, with this the first one that really garnered any attention.

While it wasn’t a smash hit outside of hip-hop circles, it showcased their approach perfectly – sinuous rhymes, clever wordplay and a hint of flirtation. If the drums sound familiar, it’s because it’s the same Joe Farrell break – the intro to 1974’s ‘Upon This Rock’ – that Kanye West later used for ‘Gone’. Add in some horns from Herb Alpert and The Tijuana Brass and you’ve got a funky little earworm.

They return to the same Joe Farrell well for the flip, ‘Butt… In the Meantime’, because if the break isn’t broke, don’t fix it. Previously unavailable on 7”, this brace of 1991 sureshots is the perfect introduction to the idiosyncrasies of the Native Tongue era.

Immortalised, smooth psychedelic soul from The Isley Brothers that's every bit as powerful as it was in '83. Much loved and often sampled in the hip hop world, with 'Footsteps In The Dark' most famously sampled by Ice Cube and 'Between The Sheets' by Notorious B.I.G.

A huge record for sample spotters and funk / soul lovers alike, they don't get much more iconic than these two tracks - now fully remastered and reissued for the modern dancefloor.

Large / dinked centre hole.

everything one needs to know about this album: a misshapen,
CHUD-like figure wanders in a graveyard bearing a cross,
while a mutated fish flops in a polluted ditch and a clutch
of factories belch their smoke above it all. The message of
the illustration is not to frighten or warn, but to celebrate
and admire.
Originally released in January of 1984, Disease Is Relative
is an unapologetic and wholesale embrace of death,
disease, and dystopia, with liberal doses of absurdism
and an unrelenting devotion to anything unexpected,
chromatic, or evil sounding. Sporting influences as
diverse as no wave, death rock, funk, post-punk, hardcore,
metal, and prog rock, this music somehow happened in the
midst of a first wave hardcore scene, before there was a
“post-” to be “post” of. Less surprising is that this happened
in Cleveland, which also inspired a desire to recreate the
feeling of the city’s post-industrial desolation in sound.
There’s also some epic screaming and crazy guitar playing.
The album features three songwriters (brothers Andrew
& Chris Marec, Robert Griffin), who also divide guitar,
bass, and vocals equally between themselves here.
Drummer Bruce Allen is the secret weapon, and provides
a clue to what a young Bill Bruford might have done in a
band like this. And yet, beyond all odds, the end result is
cohesive, cathartic, and utterly idiomatic. The distinct vibe
of the album, and its sheer quantity of killer riffs, songs
and performances have made it an album that people have
championed over time, while others have come to know it
through the interwebs as a result.

everything one needs to know about this album: a misshapen,
CHUD-like figure wanders in a graveyard bearing a cross,
while a mutated fish flops in a polluted ditch and a clutch
of factories belch their smoke above it all. The message of
the illustration is not to frighten or warn, but to celebrate
and admire.
Originally released in January of 1984, Disease Is Relative
is an unapologetic and wholesale embrace of death,
disease, and dystopia, with liberal doses of absurdism
and an unrelenting devotion to anything unexpected,
chromatic, or evil sounding. Sporting influences as
diverse as no wave, death rock, funk, post-punk, hardcore,
metal, and prog rock, this music somehow happened in the
midst of a first wave hardcore scene, before there was a
“post-” to be “post” of. Less surprising is that this happened
in Cleveland, which also inspired a desire to recreate the
feeling of the city’s post-industrial desolation in sound.
There’s also some epic screaming and crazy guitar playing.
The album features three songwriters (brothers Andrew
& Chris Marec, Robert Griffin), who also divide guitar,
bass, and vocals equally between themselves here.
Drummer Bruce Allen is the secret weapon, and provides
a clue to what a young Bill Bruford might have done in a
band like this. And yet, beyond all odds, the end result is
cohesive, cathartic, and utterly idiomatic. The distinct vibe
of the album, and its sheer quantity of killer riffs, songs
and performances have made it an album that people have
championed over time, while others have come to know it
through the interwebs as a result.

Favorite Recordings and Charles Maurice proudly present the 5th edition of the AOR Global Sounds compilations series: 8 rare and hidden tracks, produced between 1977 and 1984 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and WestCoast movement and highlight its influence for many artists in the late 70s and early 80s. In this 5th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors.

Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, while the other half is made of productions from all over the globe, from France or United Kingdom to Venezuela. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press.

Often, these records will have a special story, sometimes they’re just part of the universal quest of finding true love. Nonetheless, they all carry a wide range of emotions magnified by the music.

For example, “Don’t Take It Away” by Westside is as a love song about a new relationship, recorded in Minnesota and mastered on Sunset Bld. (Hollywood) by Bernie Grundman, who worked on Thriller – funny thing, the original LP is a picture-disc, which was still quite rare back in the days because the singer saw one from Mickael Jackson when visiting the studio. “Til’ Mornin’ Comes”, the only release by The Ferry Brothers, is also a love song, recorded in NYC with notably Gwen Guthrie, Vivian Cherry & Patti Austin singing as backup vocalists. On “What Its Meant To Me”, Jonathon Hansen remembers with emotion the good times spent with the members of his band including the vocalist he was in love with. On “J’Irai Squatter Ton Cœur”, Didier Makaga better-known as a French Boogie & Pop singer, arranger & composer, sings a charming declaration of love on a heavy and groovy eighties production. “You Never Know” by Rhapsody, recorded in Connecticut, sounds more like an East coast fusion of Soul and Jazz-Funk à la James Mason. “What You Do To Me” by Sugar Cane was highlighted on a Pittsburgh Rock Radio compilation: listening to this smooth ballad with its amazing Moog synth break will lift your soul. “Kailua” by Venezuelan Jazz-Funk band Esperanto, is a song about Hawaii which evocates bucolic dreamy nights facing the ocean, a typical AOR vibe. Finally, “I Need You” from Mark Williamson is a blue-eyed soul UK groover ending on a four-on-the-floor climax!

And we could detail stories but our guessing is the best way to learn more about all these gems is to listen to the compilation, fully remastered from originals, and whether your preference is for vinyl or CD formats.

The Peterson Brothers - keyboard player Ricky, bass player Billy, drummer / guitar player Paul and their nephew, saxophonist Jason - are true
brothers in arms, Minneapolis institutions, members and survivors of that city’s musical revolution. They lay the music out like an
uptown groove buffet.
You don’t need to be smart to feel the beat of the heart; you don’t need to play dumb to feel the beat of the drum. This is music everybody can get with.
Natural talent by the yard and years of playing with the some of the best of the best - from Prince to Bonnie Raitt, Eddie Harris to Mose Allison, Dave Sanborn to Boz Scaggs, Fleetwood Mac to Bob Dylan, and that barely scratches the surface - make this tribute to a legendary musical family a back-slapping, finger-popping good time.
The fact that it took a couple of decades to get these world travellers together into the same room for a couple of days only proves that when the time is right the real deal is on the table. Praise the lord and pass the ammunition, the Peterson Brothers are in town!

- Rare 1987 Detroit experimental Funk/Soul album - Solo album by Tony Newton (Motown, Funk Brothers) - First ever vinyl reissue - 180g Black Vinyl Edition - Limited to 500 copies // Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European 'Motown Review' tour. Within two years, Newton became the Miracles' musical director. Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5_and countless others. Earning the nickname "the Baby Funk Brother" he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as "Where Did Our Love Go," "Baby Love," "Stop In The Name Of Love," "Nowhere to Run," "ABC," "Never Can Say Goodbye," "Don't Leave Me This Way," and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis' drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore). Tony Newton also recorded several solo albums during his impressive career, including the two total classics: 'Mysticism & Romance' (1978) and 'Novaphonia' (1987). On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the 'multi' into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton's impressive musical past and his vision for the future. Spacious synths, unusual instruments and an all-around cosmic approach make this an 'out of this world' and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

- First 45 from new label 3 Palm Records - Classic deep funk and soul cover featuring singer Adryon De León - Hard break beats and soaring vocals // West Coast soul and funk powerhouse Orgone returns to their roots with this scorching cover of the James Brown-produced Marva Whitney song "It's My Thing (You Can't Tell Me Who To Sock It To)." The original is considered a breakbeat classic and has been sampled by hip hop's golden era stalwarts (NWA, Public Enemy, & EPMD). Orgone brings their brand of heavy hitting, gritty production to update the song for new ears and a new era. Lead vocalist Adryon de León struts and belts with swagger and soul, riffing and owning Marva's response to the Isley Brothers' "It's Your Thing." Orgone's seasoned rhythm section chugs hard and heavy in their crusade to do justice to the legacy of James Brown's renowned band The J.B.'s. Topped off with percussion breaks and killer horn lines, this side is ready to be embraced by soul aficionados, beat junkies, and deep funk crate diggers_not to mention the hardcore fanbase that Orgone has established over two decades of critically acclaimed studio releases and a well-earned reputation for fiery live shows. This is the debut 45 from 3 Palm Records.

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him - including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006. A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early '70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

"Terrific!"- Steve Lamacq, BBC 6 Music. Double header 7" from NY production duo The Still Brothers. 'Wake Up' Mixed by Skinshape. The Still Brothers are Andrew LeCoche (Ula Ruth) and Evan Heinze (The Shacks). 'Wake Up' was created in a New York winter on a cloudy day. The song's bones were sculpted in the classic Still Brothers' fashion making use of a collection of favourite sounds. It came to life when Brazilian friend and collaborator Marina B heard the track in her sleep and thought of the song's lyrics as she woke up. It might take you to that place in-between dreams and the waking life, where you are pulled in and out of a state of slumber. It incidentally speaks to the abrupt change that was about to fall upon the world in early 2020. Between the singing in Portuguese and the sounds of subway doors, the song is just alienating enough to make anyone these days to feel right at home. 'Wake Up' was mixed by Will Dorey aka Skinshape and mastered by Alex DeTurk. The cover art was designed by Sofia Ohanna. Inspired by subway preachers, jazz funerals and Hip-Hop 'The Deep' serves as an introduction to the dazzling skills of New York production duo The Still Brothers. Their debut track breaks open with a reverend crying out about the transgressions we have committed against each other. He then observes that so many of us are throwing up our hands in an act of surrendering. A poignant sentiment in these troubling times and one that will resonate throughout the world.

This is the super limited edition with the "Matizando la Salsa" 7'', one of the rarest Guaguancó 45s from Central America. This extra single was only made available through the purchase of the combo of both 7'', and it was limited to 100 bundles. Discodelic presents its third release in its exclusive limited-edition seven-inch series, the last piece in the Costa Rican Afro-Latin music trilogy. From Alajuela, the Vargas brothers aka Combo Guarajeo, one of the most incredible and talented groups from Central America. Their highly nuanced Latin Funk Jazz, mixed with psychedelic and fuzz scents, will blow your mind. Learn about the incredible history of these four brothers in the exclusive and extensive liner notes that accompany this edition.

Obviously is the new album from beloved band Lake Street Dive. It includes the new single ‘Nobody’s Stopping You Now’, a letter of encouragement from lead vocalist Rachael Price to her teenaged self, co-written with bassist Bridget Kearney. Lake Street Dive has figured out how to write tunes that reflect this particularly turbulent chapter in our shared history. The album track ‘Making Do’, which was released at the end of last year, speaks to the world that future generations are inheriting while exploring the lasting impacts of climate change and our responsibility to address it (featuring a cameo from Senator Ed Markey who co-sponsored the Green New Deal).

As Price puts it, “You’re trying to express your anxieties, your feelings, your sadness, your happiness, all of these things – your authentic state of being in a song. But you’re also trying to create something people will listen to over and over again. That’s the unique fun thing about music, putting these messages into three and a half minute snippets, dropping whatever truth we can and hoping it’s the type of thing that people want to ruminate on.”

Obviously was produced by Grammy Award-winning producer, songwriter, and multi-instrumentalist Mike Elizondo who is best known as a songwriting collaborator for Dr. Dre, Eminem, and 50 Cent and has also served as a record producer for Fiona Apple, Mary J. Blige, Carrie Underwood, and 21 Pilots, among many others. Utilizing Elizondo’s hip-hop record-making expertise coupled with the permanent addition of keyboardist Akie Bermiss, Lake Street Dive’s wide-ranging taste in pop, rock, R&B, and jazz have blended together to make an impressively cohesive sound, combining retro influences with a contemporary attitude. “We’ve been a band for so long that we didn’t want to just become a feedback loop of our own ideas,” recounts Kearney. “It felt like a really good time to bring another person like Mike Elizondo, and he really opened us up. He encouraged us to make bolder arrangement choices, take those chances and try those things. The record really is a success in what we set out to do: continue to challenge ourselves, continue to grow, and do things we’ve never done before.”

The members of Lake Street Dive founded the group in 2004 while attending the New England Conservatory of Music in Boston. The band features Rachael Price (lead vocals), Mike “McDuck” Olson (trumpet, guitar), Bridget Kearney (bass) and Mike Calabrese (drums) as well as their newest member Akie Bermiss (keyboards), who has been a touring member of the group since 2017. Since the band’s inception, they have released six studio albums. Their 2018 self-produced record, Free Yourself Up, debuted at #4 on the US’s Top Album Chart and charted #8 on the Billboard 200. In addition, the album’s hit single ‘Good Kisser’ peaked at #5 at Americana radio and appeared in the Top 20 at AAA radio, both career peaks for the band. The group has toured worldwide performing at major music festivals including Bonnaroo, New Orleans Jazz Festival and Newport Folk Festival while preforming alongside artists such as T Bone Burnett, The Avett Brothers, Robert Finley, Jack Johnson and Trombone Shorty.

Kompakt welcomes 2021 with a new member that many of you will recognise. For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few.

Orlando Voorn brings his extensive knowledge of Techno and House to the forefront for his Kompakt debut “Internal Destination”. We offer up the title track ahead of the 3 track EP’s February 19 release date. Spacial sounds connect perfectly together – the playfulness of the track feels like each moment is caught in mid-air but the beat keeps it all moving forward without hesitation. “Ride The Wave” rounds out this EP – an electro loop is serenaded by a funked up synth melody that jams to the drum in the most soulful of ways.

Kompakt begrüßt das neue Jahr mit einem neuen Familienmitglied, das dem ein oder anderen geläufig sein dürfte. Schon seit über 3 Jahrzehnten prägt Orlando Voorn die elektronische Tanzmusik wie wenige andere. Als erster holländischer Produzent werkelte er schon sehr früh an der Detroit - Amsterdam Achse (siehe "Game One" mit Juan Atkins oder die legendären Ghetto Brothers Releases mit Blake Baxter). Er hat unter unzähligen Pseudonymen wie Fix, Format oder Frequency Platten veröffentlicht, die heute Kultstatus haben.

Mit seinem Kompakt Debut "Internal Destination" zeigt er, dass seine Musik auch im Jahre 2021 tiefes Wissen verströmt und nichts an Relevanz eingebüßt hat. Der Titeltrack "Internal Destination" ist Groove pur. Räumliche Klänge verbinden sich perfekt miteinander - die Verspieltheit des Tracks fühlt sich an, als wäre jeder Moment in der Luft gefangen, aber der Beat hält alles ohne Zögern in Bewegung."Ride The Wave" rundet diese EP ab - ein Elektro-Loop wird von einer funkigen Synthie-Melodie begleitet, die auf gefühlvolle Art und Weise mit den Drums jammt.

From label owner Terry Cole, "It was on March 16, 2020 that we closed up our storefront as the reality of a worldwide pandemic began to spread across the Midwest. We had no idea how it was going to impact our shop, our label, or the artists we represent. We were all fortunate to have our family members stay safe and healthy; however, the livelihood of many of our friends and artists were drastically and immediately impacted. No tours, no live performances, record shops closed, pressing plants shut down, etc. And while the level of uncertainty was unnerving, from that uncertainty came the idea for Brighter Days Ahead. We knew we wanted to continue to release new music, but proceeding with our heavy 2020 release schedule as planned seemed ill advised. So the idea was to release individual tracks from many of our artists on a weekly basis and as a musical family, we could all help shine light on each individual artist weekly. Strength in numbers! So throughout the summer and into the fall, that's what we did. We released several dozen tracks and the weekly announcements certainly garnered a strong sense of community for our artists and fans alike. We're very proud to present Brighter Days Ahead: a compilation from our talented stable of artists on both our Colemine and Karma Chief imprints."