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A kaleidoscope of harmony vocals - as Crosby, Stills and Nash might have sounded with a funky back beat. Delicate acoustic fingerpicking, warmed by a swell of brass before a drama of electric unfolds. Guitar band music, delivered with the sensibilities of someone who knows how to make you dance. Sun-kissed blue-eyed soul, reminiscent of Ned Doheny, but emanating from a beach far from California.

These are the sounds of Jim, as heard on debut album 'Love Makes Magic'.

Debuting in 2021 on the folk-informed 'Falling That You Know' EP, Jim is the latest alias of songwriter, multi-instrumentalist and renowned DJ Jim Baron. Famed as co-founder and musical director of festival-stunning favourites Crazy P, his latest Jim project is a musical journey unlike anything he has done before.

Following on from the well-received release of Toc De Breaks earlier this year, Spanish duo JP Sunshine and Guim return with a full collaborative EP, Toc De Jaume, released on Steel City Dance Discs.

Coordinating a masterful blend of funk-infused instrumentals, melodic breakbeats and acid-tinged basslines, Toc De Jaume is unique in its character, which bears its defining traits from its two creators, JP Sunshine and Guim, whose partnership is nothing newfound, yet, in light of this EP, feels as fresh as ever.

Toc De Jaime contains a vast variation of sounds within its entirety, from the funky, acid dripped breakbeat of La Fiesta, which was released earlier this year, to tracks like JP Sunshine’s I Want To Stay, released in 2020, which offer a more melodic, feelgood aspect to this EP, and the sound of both artists as a whole.

Through Toc De Jaime, JP Sunshine and Guim present an EP that feels like an ode to the sounds of their shared native homeland; sounds which the duo manipulate and rework within the confines of an electronic dance music context, resulting in a perfect marriage of diverse sounds.

Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. “Sabroso Go Go” brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. At the end of the fifties, rock music shook the foundations of Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo's orchestra took up the mantle and reinterpreted a well-known guaracha by Celia Cruz ('Rock and Roll') in mambo style, renaming it 'Rock and roll Mambo'. 'Maestro de Rock and Roll', a hit by the Cuban Conjunto Casino, received similar treatment. Another mix in this vein is the rock tune 'El Rock de los Chinos' by the Mexican Manolo Muñoz (author of 'Speedy González') recorded by the Chilean Choche Mérida for MAG in 1961. The following year, Chubby Checker’s 'The Twist' hit the scene and was immediately fused with guaracha by maestro Nelson Ferreyra. A legendary MAG musician, Carlos Pickling, composed 'La Charanga del Espacio' in 1963. The space sounds are produced by Pickling and his inseparable Hammond. He himself is the one who leads the orchestra that accompanies Benny Del Solar, Lita Branda and Pablo "Melcochita" Villanueva in the tropicalized version of Spanish Rumba, when the beats of the Iberian rumba were still exotic in South America. Around that time, the Chilean Willy Marambio was already living in Lima. In the track included on this album, the go-go style showcases his virtuosity on the trumpet. Another outstanding trumpet player, Roberto "Tito" Chicoma from Chiclayo, played as a session musician with MAG from 1959. A few years later, he became one of the most popular Colombian cumbia players, a talent he demonstrates in the song on this compilation, which blends the fun of go-go with yé-yé beats. 'Batijugando' was a hit from Mexico and was played in all the rhythms played across the Hispanic world since 1967. Inspired by the "Batman" series, it was performed at MAG by the Betico Salas orchestra, with vocals by the Panamanian lady crooner Nallye Fernández. 'Computador Electrónico' is another surprise on this album, performed by Panamanian vocalist Patty Pastel, it is the only known version in Spanish of 'Der Computer Nr. 3', originally sung in German by France Gall. Two other songs feature Edgar Zamudio. The versatility of Zamudio y Los Vikingos (originally a Chilean group) is demonstrated in the guitar-heavy song composed specifically for the late sixties skate fashion ('Go Go en Patines') and in his idiosyncratic protest song ('Día de Pago') performed in beat style. In the mid-seventies, Los Kintos, led by guitarist Francisco Acosta, developed different harmonic ideas in an instrumental track that veers from boogaloo to salsa, the fashionable rhythm of the day. Finally, in 1976, when the bumping hips dance craze swept the continent, Manuel Guerrero was quick to jump onto the bandwagon, composing a Bump song, together with his son Carlos. The Italian musician based in Lima, Luciano Luciani performed the song 'A Bailar Bump' backed by his band of local musicians Los Mulatos.

2025 Repress

Beste Modus, we_r_house and Unison Wax co-founder Cinthie launches her new imprint Crystalgrooves this October with three raw House cuts.

Berlin's Cinthie has long been a respected figure in the underground electronic music scene of Berlin and further afield, heading up the Beste Modus and we_r_house imprints, as well as Unison Wax alongside Diego Krause amongst holding a residency at the infamous Watergate club in her hometown and recently opening her new record store in Friedrichshain, Elevate. It's clear to see electronic music scene plays a huge part in Cinthie's life and here we see her adding another label to her already impressive coterie of imprints, namely 803 Crystalgrooves, a platform for her own material edging towards more classic, raw House sounds in contrast to the deeper more stripped back sounds heard across the other labels. Leading on the package is the anthemic heavy hitter 'Together', a heady House groove fuelled by a filtered, funk-infused bass line, bright organ chords and bumpy 909 drums, the result is an emotive slice of peak-time house to kick start the EP.x 'Ada Lovelace' follows and tips the focus over to dusty, swinging drum sounds and an amalgamation of choppy disco string and vocal samples all intricately programmed to create a dynamic dance floor workout. 'No Need To Worry' then rounds out the package with murky bass tones, wandering stab sequences and stripped-back shuffled percussion to close the package on a more dark and brooding tip.

UK artist Jayson Wynters debuts on Pulp with four tracks of atmospheric house and funk that come complete with remixes by Jarren and Mogwaa.

Kung fu master Wynters hails from Birmingham and has been a key player on his local scene for years. More recently he has broken out with impressive EPs on mighty Dutch label Delsin and Adam Shelton's EON. He has a real love of hazy house and always brings his own unique take on that to his timeless analogue grooves. This latest EP was written during lockdown, which provided Jayson a chance to explore different sounds and delve into different styles.

Opener 'Solitude' proves that with its misty-eyed melodies and dreamy pads. The drums tumble loosely, the percussion has a frayed edge and the whole thing is coated in warmth and soul. Half Moon's Jarren is based in LA and brings plenty of that city's musical charm to his remix. It has far-sighted chords, soft-focus harmonics and well swung claps and drums that are simply irresistible.

Wynters then offers 'Corns Funk,' which pairs another dusty drum line with pinging kicks and woodpecker-like percussive hits. A superb twanging bass riff brings some real funk and retro-future feels as the groove builds and bright synths shine through the haze to enrich your soul.

'Night Drive' is a lush downbeat tune for sunset cruises. It has heart-melting chords that prompt deep inward reflection and features an aching guitar riff full of melancholy. The remixer for the one is Seoul musician and master beatmaker Mogwaa who layers in squelchy synth bass and dreamy, loved-up pads. Last of all, 'Uncle's Jam' is Dam Funk-style electro bliss doused in lo-fi chords and languid late-night funk and packed with romance.

Jayson Wynters shows off another superb side to his sound with his expansive Solitude EP.

Parasol Dance' embodies the musical headway and fruition Fabio experienced exploring different soundscapes and rhythms in his London based studio this last year. The crisp analogue cuts in the album are peppered with Monesi's organic evolution from the New Jersey sound drawing inspiration from Jazz, Funk and even Disco, all the while never faltering on the end product of raw undulating grooves.

In a sentence, in 'Parasol Dance' Fabio has dished up a vibrant collection of raw and robust cuts that keep you locked from start to finish and will be no doubt be finding a welcome home in record bags across the globe.

Based in Berlin Max Newton & Matalo! have delivered percussion heavy funk and gritty Nuyorican rhythms on both GAMM and Take Away Records.
Their new release on Omena LTD continues on the same path and adds deep house and breezy latin flavours.

U-Bahn at Midnight sets things off sounding like a classic MCDE house jam with ringing melodies and sharp horns.
Walkin' On uses that classic Freddie Hubbard sample we all love and makes it even more classy.
On the flip Pao de Acucar vs Vesuvius is a 110% feel-good and summery TUNE, and finally Brooklyn Survivor ends things on a jazzier note with its deliciously deep, Disco-House groove.

A mighty fine way to close the Omena LTD series.

“Are we having fun yet? Living in the grey zone”? The Toads ask the question and already know the answer. There’s many a wry smile, often packed with gallows humour, shared on the Melbourne groups’ debut album “In the Wilderness” (out June 9th on Anti Fade and Upset The Rhythm). Navigating the dross of modern life, whilst keeping one foot in a dream is the key to their nervy post-punk scuffle. Featuring members of The Shifters, The Living Eyes and Parsnip you’d be forgiven for guessing what The Toads sound like, but their mordant step and minor-key enchantment makes for an intriguing parry.
The Toads hatched after a short period of domestic readjustment mid-2021. Billy Gardner (guitar) found himself in need of a roof after his home was consumed by fire, and was kindly hosted by friend Stella Rennex (bass). Elsie Retter (drums) was a regular visitor to the house and after seeing Miles Jansen (vocals) tear it up with his other band at the local bowls club, they invited him along to sprinkle his deadpan musings across their fledgling sound. Pretty quickly they hit on their direction; a savvy, snappy lo-fi pop as openhearted as it is brooding.
After playing some formative shows, including a debut at Jerkfest in 2022, The Toads set about recording five songs mid-year for a tentative EP. Realising the songs were too long to fit on a 7”, they booked in another recording session the following September to extend the EP to 12”. Two tracks’ chords structures were fleshed out with new melodies and arrangements, and by this point The Toads were surprised to find they had an album’s worth of material. ‘In The Wilderness’ is a beguiling record, full of twists and turns. It’s arch, resilient, thoughtful and straight-at-your-head catchy to boot.

It’s fitting that the title track “In The Wilderness” draws this record to a close, being the peak of their invention so far. Drums pound and tumbling bass-lines sprint among the crisply stabbing guitar phrases and soaring horns outro. It’s a survivalist epic of hard-worn wisdom, ambling and restless. “I open up the door trying to get all of us through” sings Miles, becoming progressively more dizzy and despondent. There is a sense of toughing it out that never falters though and this is the essence of what The Toads do best. They push onwards into the darkness and keep their appetite, pulling us all into the light.

Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles (Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation intersecting orbital audio paths and damaged smoking instruments. Could have easily been called Birdless Science but it wouldn’t be funny…

French producer Timothee Milton debuts on Local Talk with an EP that fumes of soulfulness in every direction.

Written by Angela Johnson, the original is a big vocal deep house jam that got some hints of the 90s Jersey sound..but not too retro ;).

To give the package an extra edge we enlisted deep house connoisseur Hugo LX and boogie-house maestro Art Of Tones for the remixes, and our boys really delivered the goods.

Hugo's mix is a classy as it gets, supa bumpy deep house where everything little production detail is delivered with good taste.
The Art Of Tones remix is equally strong but goes for a more uplifting approach and puts the funk, boogie and soul front & centre.

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded.

Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers.

Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

Die 2006 im nordspanischen Bilbao (Baskenland) gegründete Melodic-Death-Metal-Band Rise To Fall hat sich in den vergangenen 17 Jahren ihren wohlverdienten Platz in der Metal-Szene etabliert.

Mit einem konstanten Output und zahlreichen Live-Shows und Festivalauftritten sind Rise To Fall für die Bereitstellung von Musik auf höchstem Niveau und ihre verheerenden Live-Shows bekannt geworden. Mit der Veröffentlichung von vier Studioalben hat die Band die Messlatte immer höher gelegt, was nicht nur zu zahlreichen Tourneen durch Europa, sondern auch zu Headliner-Touren in Japan und China sowie zu Tourneen mit Soilwork führte! Rise To Fall, die 2022 bei Noble Demon und Massive Music Booking Agency unter Vertrag genommen wurden, bereiten sich derzeit auf die Veröffentlichung des mit Spannung erwarteten fünften Studioalbums "The Fifth Dimension" vor, das am 9. Juni 2023.

Also macht euch bereit für das nächste Kapitel von Rise To Fall, das wieder einmal ihre eigenen Maßstäbe setzt und ihre Musik auf der ganzen Welt verbreitet!

Unlike Julie's debut "Flowers and Candles", which she released alone at the age of 15, this album now involved more than a dozen musicians, including a string quartet and a brass section. Nevertheless, Julie still penned all the songs. The elaborate production of the album was made possible by the Frankfurt label Jazz Montez Records and thanks to a generous grant from Initiative Musik. For the first time in the history of this artist funding program by the German government, the application of a musician under the age of 18 was successful.

ITWVA002 it is the second various-artist vinyl record released on the newborn Italian Weapons Records.
The second release dives through different genres without forgetting the main core of the label which is Italian House Music.
This collection was entirely produced by young and talented Italian artists. Italian Weapons are always looking for sounds from the Italian house scene, allowing their artists to travel back to these golden age sounds.

ITWVA002 Includes 4 tracks carefully selected by the Italian Weapons label. Owned by Niccolo Turini and Gunther Mian. These tracks were mastered by Michele Mucci of Nachtkerzestudio Berlin. And designed by Matteo Mangano. The second various artist ranges through all the nuances of Italian house music including Balearic sounds produced by artists located throughout the country and beyond.

The second round of artists includes Derek & DJLo, Heat Alliance, Niccolo Turini aka; Funksonik, TMM aka; The Mechanical Man, and Sandro Sainati aka; Tai gong.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

FÜR FANS VON: DEEP PURPLE, STATUS QUO, LYNYRD SKYNYRD, MOLLY HATCHET

Nach neun Jahren Pause sind KICKHUNTER zurück, um wieder besten Kick-Ass Rock’n Roll abzuliefern. Im Jahr 2000 von Gitarrist Stefan Aurel und Schlagzeuger Karsten Kreppert gegründet, hat die in Hamburg ansässige Formation bisher vier Alben veröffentlicht. Mit ihrem Debütalbum "Hearts & Bones" tourten sie 2003 gleich mit DEEP PURPLE und LYNYRD SKYNYRD durch Europa und gewannen viele neue Anhänger. Der international hochgelobte Nachfolger „Little Monsters“ erschien 2007. KICKHUNTER veröffentlichten im Sommer 2010 ihr drittes Meisterwerk „All In“. 2013, kurz bevor sie ihr viertes Album „Southern Kicks“ veröffentlichten, begleiteten sie die US-Southern-Rock-Legende MOLLY HATCHET auf ihrer Deutschlandtour.

Jetzt melden sich KICKHUNTER mit ihrem 5. Album „Now Or Never“ zurück. Produziert von der Band und gemischt und gemastert
von Eike Freese (DEEP PURPLE, EISBRECHER, GAMMA RAY u.a.) und Dennis Ward (PINK CREAM 69, MAGNUM, KYHMERA u.a.). Das Album enthält auch einen Gastauftritt von keinem geringeren als Gründungsmitglied und HELLOWEEN-Bassisten Markus Großkopf! Markus, der durch sein Engagement bei HELLOWEEN zeitlich sehr eingeschränkt ist, kann KICKHUNTER im Moment live leider nicht unterstützen. Für ihn konnten die fünf verbliebenen Originalmitglieder Tim Schwarz (XANDRIA, HARDBONE) als neuen Bassisten gewinnen. Außerdem gibt es mit Gitarrist Gerd Lehmkuhl einen Neuzugang an der Gitarre, der die Triple-Axe-Attack komplettiert!!! Wer nach echter handgemachter Rockmusik mit dreckigen Riffs, kraftvollen Hammond-Sounds und groovigen Drums sucht, der wird KICKHUNTER lieben!!!

Beatservice are delighted to present the debut album from the irrepressible Norwegian outfit, b0ka, with 13 genre-surfing tracks lovingly presented on the gloriously pop-centric 'Forever, My Friend'.

Friends since as far back as kindergarten, the b0ka players released a selection of highly regarded singles between 2013 and 2016, with their music arriving via prestige imprints including Eskimo, Paper Recordings, Diamond Club, and their own b0ka Recordings. They've since pursued a diverse range of projects, including Lakehouse, OJKOS, Bjørnar Sira and Den Kosmiske Overorden, with their expansive sounds routinely winning admirers throughout the global music community. The pandemic-induced lockdowns allowed the band an opportunity to re-visit long lost b0ka projects: reviewing dusty hard discs before funnelling the best morsels into the Sagrada Jukebox mixtape earlier this year. It was during this journey of sonic rediscovery that the masterfully diverse 'Forever, My Friend' was ushered into existence.

Drawing on all-manner of far-flung influences and brilliantly assembling the components with a pop-ready sophistication, this is spectacular work from b0ka, marking their return to release action in breathtaking style.

Long out of print (10 years!), this new edition of Soul Jazz Records' classic Delta Swamp Rock, features a killer all-star line-up of seminal artists who all first blended rock, soul and country together to create a stunning new sound of southern American music in the 1970s.

Featuring the Allman Brothers, Dan Penn, Leon Russell, Tony Joe White, Johnny Cash, Bobbie Gentry, Big Star, Link Wray, Area Code 615 and loads more!

This album comes as a superb limited-edition gold vinyl double vinyl release complete with extensive original sleevenotes, interviews and exclusive photography, all spread over a 12-page full-size magazine and two bespoke inner sleeves. The works!

Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s.

At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life.

The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall.

The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis.

Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s.

This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads.

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Die Hard Rock/Melodic Metal-Pioniere Y&T waren schon immer ein TOP LIVE ACT, und "Yesterday & Today Live" aus dem Jahr 1990 ist das Fundament, auf dem die legendären Live-Shows von Y&T aufgebaut sind.

**Debut album from former 'Eighties Matchbox B Line Disaster' front man Guy McKnight's new band.** **ORANGE MARBLE COLOURED VINYL - VERY LIMITED!!** The DSM IV’s debut album, “NEW AGE PARANOIA,” is an impressive collection of stories, beats, guitars, and noise. The album seamlessly weaves together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries, and social media. Formed by Guy McKnight of critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster. The DSM IV has a dark sound that blends noise-rock, synth-pop and industrial, that delivers a unique musical experience. Their music is cacophonous and epic, featuring rich textures and melodic hooks that keep listeners captivated. The band’s powerful soundscapes, combined with their thought-provoking lyrics, create a mesmerizing atmosphere that both entertains and encourages introspection. The album prompts important questions about our society, such as what’s driving the normalization of a narcissistic culture that prioritizes personal desires over altruism. It delves into the ways in which technology, social media, and mass media shape our collective psyche and affect our relationships with ourselves and each other. The DSM IV’s music offers a timely and compelling commentary on these issues. The DSM IV is a band that creates music with a powerful message that resonates with people who feel that a kinder world is possible. Their songs are both nasty and nice, reflective and entertaining. With “NEW AGE PARANOIA,” The DSM IV has crafted an album that will captivate and inspire listeners, while also prompting deeper reflection on our society’s values and priorities.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

On Underwater, Elephant Gym's latest release and second full-length,
there was no single composer overseeing the record - To the end of
unlocking new sounds for themselves, each member took turns leading
production and compositional roles during the creation of the album
The result is an expansive cohesion of diverse songs which flow in and out of one
another like water. Vocal cameos by international collaborators provide another
compelling dimension to the record, emboldening a group usually known for their
instrumental compositions.
The band explains that "Underwater is an idea about a kind of private, mysterious
space." It's a place where one may go to ponder or concentrate, to clear one's
head, or to just blow off some steam in solitude. So, too, is Underwater
fundamentally about immersion: immersion in the chaos of feeling, living in the
throes of being human-sized in the infinite expanse of existence.













m Midway [Rgry Remix]

»Ced Gee X Kool Keith«, beide Mitglieder der legendären Ultramagnetic MC's, haben sich für eine neue Ultramagnetic MC's-Platte zusammengefunden. Das Wiederaufleben des klassischen Hip-Hop wird im Jahr 2022 mit der neuen Veröffentlichung von Ultramagnetic MC's »Kool Keith x Ced Gee« fortgesetzt Die Ultramagnetics Kool Keith, Ced Gee und DJ Moe Love, die Mitte der 80er Jahre in der Boogie Down Bronx als weit verstreutes Hip-Hop-Trio mit einem Haufen neuer Ideen auftraten, nehmen so etwas wie einen einzigartigen Platz im Pantheon der alten Schule ein.

Die Ultramagnetic MCs kombinieren funkige Songs mit rockigen Beats und obskuren lyrischen Anspielungen und können auf eine Reihe von Premieren verweisen: Sie waren die erste Rap-Gruppe, die einen Sampler als Instrument einsetzte, die erste, die ausgiebig mit Live-Instrumenten arbeitete und die erste, die einen ehemaligen Psychiatriepatienten (Kool Keith) am Mikrofon hatte.

Frühe Singles wie »Something Else« und »Space Groove« wurden zum festen Bestandteil von Blockpartys und schlugen Wellen im Underground, so dass die Gruppe schließlich bei dem von Disco dominierten Label Next Plateau landete, wo sie ihr unterschätztes Debüt veröffentlichte. In den folgenden Jahren wechselte die Gruppe von Label zu Label und veröffentlichte Alben auf Mercury und Wild Pitch, bevor sie sich trennte, um verschiedene Projekte zu verfolgen. Bei dieser besonderen Veranstaltung werden Kool Keith und Ced Gee klassische Ultramagnetic MCs-Songs vortragen und Geschichten über die Entstehung ihres ikonoklastischen Katalogs erzählen.

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

From 1989 onwards, Richard was an obsessive collector of house and techno music, frequenting legendary London record shops such as Fat Cat, Silverfish, Trax and Red Records. He took record buying trips to NewYork to find second-hand disco, house and techno 12”s, which were lying around in bargain bins. The selection for this compilation are his own personal favourites from that era.

Back then, electronic dance music was young, innocent and fun; it hadn’t been analysed, theorised and fragmented into the multi-genre industry it is today.


What you hear on this compilation reflects what he was playing at that time; joining the dots between ambient, techno, tribal house, breakbeat and early trance productions from the UK.

Much house and techno from the US, Belgium, Germany and Holland has been well documented, but some of the more obscure British productions are lesser known and need to be showcased.

Hopefully, these tracks will inspire and educate a new generation of electronic music fans who weren’t born then and also trigger some acid flashbacks for the older,ravers as they take a trip down memory lane.

Repress!

It can take a while for an artist to find their musical voice. For Alex Andrikopoulos, it’s been a journey that’s taken the best part of two decades. Now he’s set to mark a major milestone in his transition from record store owner, label co-founder and DJ to producer with the release of his long-promised first solo album for Leng, Waving. The Greek artist first joined the Leng Records roster in the autumn of 2020 and has since gone in to release the acclaimed ‘Punta Allen’ EP for the imprint. Before that, he spent the first decade of the century running the popular Radical Sounds record shop in Athens, before refocusing on running Quantized Music with fellow DJ/producer Tolis Q and developing his DJ career, where his unique blends of disco, house and techno tracks earned him bookings at some of Europe’s most storied clubs.

Waving, which appears on the back of a handful of fine EPs for a variety of labels, is his boldest and strongest statement yet as a musician and producer. Created with a little help from guest musicians and collaborators including keyboardist Artis Boriss, bassist Brotha Gilla, percussionists Ilario Arnel and Harold Perez, pianist Luciano Ledesma and guitarist Alex Searle, the album brilliantly blurs the boundary between 21st century disco, afternoon-ready downtempo grooves, and the kind of dancefloor-minded Balearic fare that’s devilishly difficult to pigeonhole.

Fittingly, the set begins with previous single ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness which slowly unfurls before rising towards and gorgeous and joyous conclusion, and ends with the squelchy, slo-mo cosmic funk of ‘Patrol Di Caribe’, where trippy synthesizer lines, layered percussion and more tuneful style pan style lead ins catch the ear.

In between, highlights are plentiful, from the driving, piano solo-laden dub disco brilliance of ‘Down My Soul’ and the languid, sun-kissed, beach-ready downtempo grooves of ‘The Jamail Pass’, to the rubbery, pitched-down electrofunk of ‘Window Spells’ (featuring a fine lead vocal from Max Giovara, the flash-friend, dubwise Balearic funk of ‘Waving’, and the throbbing brilliance of ‘La Di Da Di’, whose crunchy Clavinet lines, fluid electric piano solos, snappy drums and pulsating, arpeggio-style bass encapsulate all that is good about the album.

The digital edition of the album also comes bundled with eight more tracks not featured on the double-vinyl LP. Featuring the same blend of expansive musicality, organic drums and dancefloor nous, this octet effectively extends the album via a string of similarly playable, club-ready and sofa-friendly tracks. Standouts include the non-stop, nu-disco-meets-house excellence of ‘Large Stacks’, Hammond-laced head-nodder ‘Take The High Road’, horizontal Balearic funk shuffler ‘Prezend’ and hazy, vocal-sporting dub disco roller ‘Angels of Rhythm’, which previously appeared on the flipside of Lex’s ‘Punta Allen’ 12”.

The highly esteemed, A7 Edits lines up Volume 6 in their much sought after, official edits series. Four feel good dancefloor re-works of obscure Afro-disco gems, plucked from the extensive Africa Seven vaults.

Opening up the EP, John Talabot & Pional take on Cameroon’s Ekambi Brillant giving a deep electronic twist to ‘Afrika Afrika’ before Ghana’s Gyedu Blay Ambolley gets his disco funk heater ‘Highlife’ re-edited by Alan Dixon.

On the B, another double dose of Cameroonian cuts, as Jacques Renault breathes new life into the jazz funk joint from Michael Amara - New Bell and Pasteur Lappe’s standout hit ‘Na Real Sekele Fo Ya’ gets a housed up edit from Escapade.

Soundway presents a double-sider of raw, West Indian Funk from 1977. Led by King Wellington’s ‘Shango’, the stand-out cut harvested from his Sooner Or Later LP finally gets the 45 treatment
it deserves.

Inspired by the Shango ritual with its roots in Yoruba culture, traces of Calypso music are driven by hypnotic bass and Wellington’s signature vocal, making up a musical blend only found in the
Caribbean.

Hidden on the B-side, ‘Mystery Music’ fronted by Canadian musician Tony Springer, embarks on a dreamy, dynamic and even a touch psychedelic trip.

Steel pans coupled with floating horns, electronic keyboard effects, crisp drums and subtle guitar licks cook up a soundscape baked by the Trinidad sun. While original copies climb their way to impossible-to-find status, enthusiasts will be excited to hear this sought after piece of music is available on the 45 format again.

Pablo Valentino steps up on Handy with Kai Alcé on the remix!

The A1 fuses funk, guitars & piano to great effect, creating a slice of classic contemporary house. Kai Alcés remix adds extra percussion and drums to take it down dancier route.

Low-slung beats, warm synths and lush pads play in harmony on the B1 to great affect, 'Not Yet' rounds off the record with an eerie vocal seriously trippy percussions whilst still keeping it danceable!

You heard them first on Brown Acid “The Thirteenth Trip”. We are very excited to present to you the full unreleased recordings from this amazing band from Detroit. Master Danse was formed in late 1973 in Detroit, Michigan when drummer Tom Riss and bassist Cary Fletcher, formerly of the Detroit band Licking Stick, went looking for a new guitarist/lead vocalist and jammed with John Giaier, who had most recently played in the band Crawdad. The three musicians hit it off immediately, and a new power hard rock trio was born. In 1973, Detroit was clearly “Rock City”, featuring such local icons as Bob Seger, Alice Cooper, Grand Funk Railroad, Ted Nugent, and Mitch Ryder, and the high energy punch of Master Danse reflected this proud heritage. Unfortunately, this union would only last one year, and by the end of 1974 the power rock trio known as Master Danse had disbanded. What was left for posterity were only two live reel to reel recordings and one promo 45 single. Some forty-seven years later, the 45 found its way onto the internet and a small cult following of audiophiles was born, people who appreciate the raw power and high energy of early ‘70s rock. Bands like Master Danse and others from this era were riding the wave of transition from the pop rock sound of the ‘60s to an edgier sound that would eventually lead to metal and punk music. With the help of modern-day tape restoration techniques, the two live recordings were restored, and together with the 45, the best versions of the eight songs that have survived the decades are featured on this album. Although recorded live forty-eight years ago on a two-track stereo tape recorder, you can still feel the power of Giaier’s Marshall stack, Fletcher’s twin Acoustic 360 amps, and the relentless attack of Riss’ Ludwig drums. So, sit back and enjoy. Rock on!

Edition of 500 copies. Comes with download code and insert.

' Funkadelic touring the vast Caribbean coastline of Venezuela, together with Afrosound and Grupo Bota, with endless supplies of Aguardiente and other substances, in a “Back to the future” setting. ' ....?

Lola's Dice's debut album is the result of a radical musical transmutation, marked by the phenomenon of massive Venezuelan emigration. The songs contained in "Pura maldad" expose the current point of that process with amazing detail. Rhythms that were considered exclusively "traditional" and almost untouchable back home (Tamborera, Gaita) get twisted, stretched and pushed beyond any imaginary limit, while being combined with healthy doses of Disco, Funk, Electro, Techno and their Caribbean counterparts, Merengue, Salsa and Compass.

Having taken their first steps in the key of Funk-Rock, things first took a turn after the leader Javier Bohorquez met Venezuelan producer Alex Figueira (Fumaça Preta, Conjunto Papa Upa, etc) at a show and he handed him a business card. The tropical psychedelic sound Figueira was specialized on spoke immediately to Javier, as it did combine many of the crazy and groovy elements he loved from the most "out there" Funk (a la Funkadelic), with the countless Caribbean rhythms he had been exposed to, having grown up in Venezuela.

After the first EP "Viaje al centro del ritmo", where everything acquired a decisive tropical tone, a further eccentric exploration of the music of their homeland became inevitable. The subsequent single "Cacri 'e Playa / Sr Cartujo" clearly showed where things were moving towards.

“Pura Maldad” is a true tropical lysergic trip, and while you see vibrant colors and things move in very strange ways, the sun never seizes to shine. Despite its profoundly experimental character, the album proves very useful to anyone in need of getting a party started, maintained or fully blown up, depending at what point of the evening it’s played.

Artwork by Colombian artist Kevin Simón Mancera.

Produced by Alex Figueira at Heat Too Hot, Amsterdam.

Bright & Findlay - James Alexander Bright und Tom Findlay (Groove Armada) - eint ihre gemeinsame Liebe zu Machine-Funk, Outsider-Soul, 70'/80'er Nautica und Basement-Disco des 21. Jahrhunderts. Auf ihrem Debütalbum 'Everything Is Slow' auf Athens Of The North präsentieren sie eine atemberaubende Bewegung und Atmosphäre, vollgepackt mit Sunshine Boogie, Cosmic Disco, einer Prise balearischem Funk und Inspirationen und Widmungen von Dâm Funk bis Metro Area.

Names You Can Trust presents the second release in their "Panama Gold Series" and the first official reissue of one of the heaviest holy grails to come out of the isthmus, the Jungle Rat USA. This impossibly rare 45 was originally issued in 1971 as a promotional 7-inch on the independent imprint Discos Nino. Its origin story has remained utterly elusive and unknown — until now. The newly remastered press contains both original sides: the raw funk masterpiece "Just Love One Another," and "Have a Little Faith," one of the finest old school examples of the coveted souldies style that has taken the modern day record world by storm. Licensed and researched with the help of the Jungle Rat's musical director Dwight Brewster, this deluxe reissue includes a lush 10-page photo booklet with liner notes, detailing the full account of the twists and turns of Brewster and his band's journey from New York City to Panama.