Suche:funk ho

A dance floor sensation from DJ Agent 86, now finally gets a vinyl release thanks to DJ DSK and the DNA Edits crew. This well respected Melbourne producer and DJ brings a blend of funky 70s disco samples and hip-hop snippets to 7” vinyl, ensuring a guaranteed party starter. As a special treat, the B-side features a fresh edit of the disco classic "Rapture."

Suburban Base legend Mark XTC is back! Starting out at The Hacienda, and working in the mighty Eastern Bloc record store at the height of the rave scene, DJ XTC was on every major Rave flyer nationwide throughout the period. Going on to form Da Intalex with partner Marcus Intalex, releasing incredibly influential Drum & Bass during the earliest stages of its evolution. Mark XTC is currently a resident on Kool FM continuing to bring cutting edge music to a worldwide audience.

Collectors that have his Subbase releases Intalex Productions presents The X, and Ill Figure can now grab the next instalment! A four track EP of banging tunes celebrating the golden eras of Rave and Drum & Bass!

Genuine uncovered unreleased DATs from the period, Mark breaks down some info on these hidden gems!

'Unite' - Mark made this in the mid/ late 90s after working with vocalist Charmaine. Big distorted bass, 'Amen' drums and his trusty EMU sampler.

'To The Beginning' - Another late 90s creation, adding some P-Funk to the Amen drums with a Sub Bass filling the tune with heavy vibes.

'Oldskool Massive' - A more recently made dedication to the classic Belgium techno of early rave, with heavy 4/4, acid riffs and of course those distorted stabs and hoovers.

'Taking It Back' - Mark made this in 1998, and even then was taking you back to that classic 94 Jungle sound and loops.

Still buzzing from the first House of Spirits 12 Inch earlier this summer, RNT tops up our collective high with even more soulful bliss from the mind of Tom Noble. A Brit-funk inspired uptempo heater with spindly guitars, driving bass and a joyous vocal hook, 'Please Take Me There' is another all original modern retro offering that portends the massive gravity of the full LP to come. On the B side, Dutch production wunderkinds Makez reconfigure the tune into a sultry vocal house excursion, and Sizmo takes it to the beach with an extra wavey balearic A Capella dub. End of Summer essential!

Domenico Niki is the man charged with the curation of the Echoes From Disco label and it will all be with a focus on rediscovering and re-editing disco, boogie and jazz from across the world. The inaugural outing features four re-edits that cover a wide array of styles. 'Through That Door' is jazz-funk with twanging guitars and sunny piano keys while 'African Horns' is a deep Afro-funk cut with fluid rhythms soon getting under your skin. 'Copacabana' is a busy, relentless and sax-laced funk banger and 'Follow Me' then slows things down with a more 80s-sounding downtempo soul vibe perfect for early evening sessions.

Discount DJs are back with their third drop. This release features four fresh cuts from the squad.
Just like their first release, this one hits you with a mixed bag of vibes produced by the same various artists. Felix and Olli, Oski & EE deliver two sun-drenched, housey grooves that will get any dance floor bouncing. Meanwhile, Lou Raw and B take you on a late-night ride with two deep, experimental tracks that shimmer with a moonlit glow. Buckle up and enjoy the trip.

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat.

The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.

Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

New one-off pressing coloured vinyl 18th anniversary edition of the long-out-of-print Studio One Soul 2, the long-awaited second volume of one of the largest selling Soul Jazz Records’ Studio One collections.

Studio One Soul 2 takes us deep into Jamaica’s long-standing fascination with American Soul and Funk music.

Featuring a host of seminal Reggae artists who all first established their careers at Studio One before finding worldwide success. Featured artists include Horace Andy, The Heptones, Cornell Campbell, Ken Boothe, Jackie Mittoo, Jacob Miller and many more A-Class Studio One legends interpreting both classic and littleknown American Soul and Funk tunes by the likes of Curtis Mayfield, Bill Withers, The Five Stairsteps, Marvin Gaye, The Stylistics, Lee Dorsey, Al Green, Syl Johnson and more.

Curtis Mayfield is without a doubt the main soul influence for many reggae groups in the 1960s and 70s. Cornell Campbell’s ‘Ten to One’ featured here is a stunning recut of the original Studio One single by The Mad Lads who first covered this Curtis-penned hit for the Impressions. Another great Curtis Mayfield production, The Five Stairsteps and Cubie’s ‘Don’t Change’, is interpreted by Studio One soul man Winston Francis. Similarly, Devon Russell’s superb ‘Make Me Believe in You’ is, if anything, superior to Curtis Mayfield’s ground-breaking original.

While American Soul and Funk remain a constant source of inspiration on this album, classic DJs such as Prince Jazzbo and Little Joe also used these rhythms to ride vocal toasts over to serious effect. This selection features a mixture of classics, super-rare and unreleased tracks from Studio One all lovingly digitally re-mastered for this release. The vinyl edition also comes on super-loud double vinyl housed in gatefold sleeve and with download code. The new CD edition comes as digipack plus booklet. Another essential Studio One release.

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

This year's compilation is once again dedicated to the Bärenherz children's hospice here in Leipzig.
The people in this organization do such incredibly important work, but unfortunately it is all too often "invisible" - because if we're honest, it's not a topic you like to deal with unless you are directly or indirectly affected yourself. And then you realize that the costs of care, accommodation, supplies and psychosocial therapies are only partially covered by health insurance. The children's hospice does not receive any state subsidies, and that's why it is dependent on private donations.

We asked a few old friends from our new hood (now that we are no longer just mentally but also physically located in Leipzig) for tracks, as well as new ones - from Connewitz to Chicago - bridging the gap between Neo-Soul, good old Boom Bap, Modern Funk, Electro, Synthiepop, Breaks and of course, House Music in all its shades.

One love goes out to all artists and supporters!

Dutch artist LEYO delivers his debut album via Cécille Records this September, comprised of eight originals and featuring collabs with Toman and Thierry Ganz.

LEYO is a project based out of Amersfoort in the Netherlands, marking its beginnings here with an LP composed utilising a
full band set up, vocals from Thierry Ganz and a singular collaborative appearance from fellow Dutch artist, Toman. The debut album showcases LEYO’s depth of influences, straddling the lines throughout between soulful electro-pop and funkinfused disco jams through to more raw house and sun drenched lounge cuts.
Opener ‘Hello (Intro)’ sets the tone with bumpy drums, psychedelic guitar tones and a dreamy phone call voice before
‘Don’t Do It’ picks up the pace, blending funky guitar lick, organic percussion and resonant synth leads with sporadic vocal
chants. Thierry Ganz first appearance on the album follows with ‘Know Your Name’, merging together Ganz hypnotic vocal
stylings with choppy bass stabs, cinematic strings and crisp disco drums. ‘Open Up The Trunk Do It’ then shifts gears into
jazz-tinged raw house territory via twinkling keys, saturated drums and a vacillating low-end drive.

Up next LEYO welcomes both Toman and Thierry Ganz into the mix for ‘That Booty’, a high octane disco house jam fuelled
by swinging drums, soulful vocals and tension building atmospherics. ‘That’s Why’ then brings down the pace to a more
dreamy aesthetic with fluttering keys and wandering synths intertwined with congas and breathy vocals. The final full
length track ‘Without You’ then lays down a shuffled rhythm section and plucked guitar lines with hypnotic chords and
filtered vocals throughout its six and a half minute duration before ‘On My Mind ft. Thierry Ganz (Outro)’ concludes the
package in a fully- fledged funk fashion, Ganz lays down his signature vocal style uttering the tracks title while underpinned
by wandering bass notes, bouncy drums, wandering guitar notes and Moog style synth licks.

LIMITED REPRESS ON 180g DOUBLE VINYL WITH DOWNLOAD CARD. This is the debut album from multi talented musician and producer Quantic. Having just turned 21 years old at the time of completion, this album was a positive indication of things to follow. Like the Bonobo album Animal Magic , this entire album was recorded in the writers bedroom - showing that DIY culture is strong and healthy in the UK and that good creative music can successfully be made and released to an appreciative audience without unnecessary hype. 'The 5th Exotic combines a variety of influences from jazz to soul to funk to hip hop. All the tracks have a strong musical element and a variety of tempos but each individual song has a connection which makes the album work as a whole. Like any good album this is one that grows on you with each listen. Richard Dorfmeister (Kruder & Dorfmeister) described The 5th Exotic as one of the best beats albums I have heard . Overall, The 5th Exotic is a truly accomplished debut album with a sound and style that is truly original.

The Deslondes are a five-piece group of dudes from New Orleans. The band splits up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. Multiple members have released solo recordings between their sophomore release, Hurry Home (2016) and their previous release Ways & Means (2022). Now, with their latest record, Roll It Out the band continues to build on their inventive take on New Orleans country and R&B. Roll It Out finds the band leaning on the country-folk of their debut along with the sometimes-psychedelic, electrified gospel-soul sound of their previous records The sound will continue to draw comparisons to the country-funkiness of The Band, Link Wray, and others but Roll It Out is the sound of a band that understands the history of American music, while embracing their own contemporary approach.

The true test of originality for any musician comes when you hear an instrument being played and you instantly know who’s playing it. For electric guitarists, certainly Hendrix qualifies; Page and Clapton, too. Maybe Eddie Van Halen before the legion of imitators. You probably have your own list, but to us, standing toe-to-toe (or pick-to-pick) with those legends is Television guitarist and solo artist Tom Verlaine. His self-taught, jazz-influenced style, largely devoid of effects, and vibrato tone (oh, that tone!) makes any Verlaine solo unmistakably a Verlaine solo. That he was quite an accomplished, idiosyncratic songwriter is just a bonus. Real Gone Music is very, very proud to announce that we have arranged with the Verlaine estate to release Tom’s last three solo albums on LP; Songs and Other Things was the last record he released, in the same year (2006) as the all-instrumental Around. As the title indicates, this was indeed a return to lyrics and vocals, the first record with “songs” since 1990’s The Wonder (although the first track, “A Parade in Littleton”—one of the “Other Things”—is a low-key, funky instrumental that would have been home on a late Talking Heads album). The time off clearly allowed Verlaine to build up a strong cache of compositions, with “Nice Actress” and “The Earth Is in the Sky” among the highlights. The record also marks a welcome return of Verlaine’s enigmatic lyrics, which as always prompt head scratching while somehow making intuitive sense. But in the end, it’s the amazing guitar work—ably supported by Fred Smith of Television fame and Jay Dee Daugherty of The Patti Smith Group among others—that elevates Songs and Other Things to essential status, worthy of its exalted position as the final release of Tom Verlaine’s career. Bassist and original engineer Patrick Derivaz has mastered the album for its vinyl debut; Verlaine’s long-time partner Jutta Koether contributes notes. Teal vinyl pressing!

FOR FANS OF... Vulfpeck, Steely Dan, Electric Light Orchestra. This album is a musical trip down memory lane. Remember when your Mom and Dad were listening and getting down to the AM Radio? This album is that vibe. These songs are stories from real people who wanted songs about their lives written by Matt Duncan during the pandemic. Matt Duncan's incredible ability to arrange is on full display as the different stories lend themselves to different sounds. Retro and authentic music fills the grooves to the brim on this LP. Piano riffs, swelling horn arrangements, and funky bass lines are ahead on this LP from Indie Music’s best kept secret. We can’t wait for you to spin this LP, and maybe you'll get Matt Duncan to write your song next.

2024 Repress

Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....

Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.

’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.

On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.

Remastered with refreshed artwork.

The second Nug-Net Vinyl Winner’s Circle is here. These are 4 of the top 8 tracks we received out of 400+ submissions. These have been played and tested by Gene and are certified for the dancefloor. Nug-Net will continue to shine a light on up and coming producers now and in the future.

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Erste Vinyl-Neuauflage dieses fantastischen Albums von 1981 von Marcos Valle, eines der bedeutensten Künstler der brasilianischen Musik. In Brasilien aufgenommen, nachdem er Ende der 70er Jahre in den USA gelebt hat, brachte Valle sein angeborenes Talent für Arrangements und seine vielfältigen Einflüsse auf diesem unwiderstehlichen Album zusammen. Gäste sind u.a. Sivuca, Chicago's Peter Cetera, Robson Jorge und Joses Azymuth Roberto Bertrami. Valle ist einer der wenigen Künstler, die man sich nicht entgehen lassen sollte, wenn man auch nur das geringste Interesse an brasilianischer Musik hat. Ob Sie nun Bossa Jazz, Samba, Psych Folk oder Soul mögen, Valle hat mit Sicherheit ein großartiges Album für Sie aufgenommen. Ende der 60er Jahre hatte er bereits genug qualitativ hochwertige Platten veröffentlicht, um sich einen Platz unter den besten brasilianischen Songwritern aller Zeiten zu sichern, aber seine Karriere war glücklicherweise noch nicht zu Ende, und er veröffentlichte in den folgenden Jahrzehnten weiterhin erstaunliche Musik. Mitte der 70er Jahre ließ er sich in Los Angeles nieder, weil er es leid war, unter der brasilianischen Militärdiktatur zu leben, und begann, mit so talentierten Künstlern wie Leon Ware oder Chicago zusammenzuarbeiten. ,Vontade de rever você" (1981) ist sein erstes Album nach der Rückkehr nach Brasilien und zeigt all die musikalischen Einflüsse, die er während seiner Zeit in den USA erhalten hat, insbesondere Boogie, Soul und Funk, mit hervorragenden Mitwirkenden: Sivuca, Peter Cetera aus Chicago, Robson Jorge und sogar José Roberto Bertrami von Azymuth am Rhodes. Das Eröffnungsstück ,A Paraíba nao é Chicago" ist Marcos Valles eigene Interpretation von Leon Ware's ,Baby Don't Stop Me" und macht deutlich, dass das, was er in LA erreicht hat, nun auch in Brasilien ankommt. Dies ist ein unverzichtbares Album für Boogie-Liebhaber. Hören Sie sich den unwiderstehlichen Groove von ecados de amor, (Valles eigene Komposition, die allerdings zuvor von Cristina Camargo aufgenommen wurde) oder elhos surfistas querendo voar" an, und Sie werden schnell feststellen, dass dieses Album zu den solidesten Leistungen in seiner gesamten Diskografie gehört. Selbst wenn das Tempo im Midtempo gehalten wird, wie beim abschließenden Stück ao pode ser qualquer mulher", schaffen es Valles Songs, die Tanzfläche mit seiner sehr gut gelungenen Mischung aus brasilianischen Klängen und funkigen Rhythmen zu erschüttern.

COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).

On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.

The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.

On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.

The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.

After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously.

The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label.

When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me.

Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control.

I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings.

I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.

With Cheek, Phonk D serves up another good vibe sample work. A catchy disco loop meets funky percussions, a few filter tweeks and off you go...
For the 10th anniversary of the label, a long-awaited wish has come true:
House and Disco icon Soundstream from Berlin has a take on the tracks and left his magic on one of his ultra-rare remixes.

Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

“En este varios artistas no existe la posibilidad de respiro hasta el final”

La segunda referencia del sello DIALECTO PERIFERICO ya esta disponible en formato físico 12”.
Esta referencia abre sus brazos a Dagga y Manao, Lord Jalapeños, Saigg, PromisingYoungster, Korrupted brothers y Vema-Diodes.

1- Dagga X Manao - Cuidao

-Estos dos Colombianos afincados en Berlin, revientan la pista con este track de patron reinventado, haciendo que el tecno y el electro sean uno solo para que las suelas de las zapatillas se desgasten hasta llegar al hueso.

2- Vema-Diodes - Trois

-Sin duda la energía industrial mezclada con el sampleo funk de este tema no te dejara indiferente, las trompetas punzantes de este track son la clave, el sazonador principal la distorsión y para acompañar un chupiito de acido.

3- Saigg - Perfect Result

-Track extraído del recopilatorio solidario “ELECTRO U.N.I.T.Y 2”, donde si o si tanta potencia tenia que reflejarse en vinilo. Voces de ultratumba y bajos punzantes como una navaja hacen que este track funcione en todas las pistas de baile.

4- Lord Jalapeños - Cosmic Microwave Background

-Este joven francés con un estilo muy particular, uno de los mejores en el manejo de lo oscuro y la distorsión.Un diseño sonoro que hará que leas esta historia de terror se lea hasta el final.

5- Korrupted Brothers - Dark Holes

-Como no ivamos a contar con este grupo de la vieja guardia de Iruña; responsables de la escena electro de Navarra y compañeros en el sello “GENTE SERIA VISTE CHANDAL”.
Verdaderamente nos llevan a un agujero oscuro con esa pregunta respuesta que los bajos y los sintes tienen en este ritmo que parece sacado de los 80´s.

6- PromisingYoungster - Signals

-Y como todo final tenia que llegar la claridad, La Luz.
Este leones últimamente lo encontramos en los mejores sellos nacionales, desde “Analogical forcé” hasta “Util récords”, Electro-Brain-dance es nuestra definición para este track, el cual nos da ganas de cerrar los ojos y sentir la energía del sol.

Cruise Music marks its tenth EP by serving up what it says are "secret funky house weapons" and there isn't much wrong with their description. Danny Cruz kicks off with 'Shoulda Been You' which rides on smooth grooves and has gentle synth waves breaking over the beats as heartfelt vocal sounds rise out of the mix. Mark Funk's 'True Lies' brings a classic 90s vocal sample to a non-stop soul beat and the B-side has got Dirty Disco Stars going big and funky and glorious on 'Look Up' then Mirko & Meex Re-touch 'Young Hearts' .

Klakson drops another hot various artist EP with an ultra fresh team; DJ ????????? & DJ DISAPPOINTED, Driven By Attraction, Shcuro and Decent Damage & Shawn Cartier on duty. A heavy electro machine funk 4 tracker with serious weaponized fuel on your acid playa this summer!

Los Angeles-based ASHRR are back on 2020 Vision ahead of a new album and this time serve up their own superb version of The Romantics's 1983 hit 'Talking in Your Sleep.' In their hands, it becomes a club-ready sound with a vocal you may recognise as it featured in the Mad Max episode of Stranger Things. Add in some DFA-inspired punk funk vibes and with all the instruments reapplied while new layers of bass and synth are added and you have one fantastic new version. Balearic don Fernando steps up for two remixes, first stripping things back to a deep house sound and then bringing some dub disco vibes to the fore.

The message is simple, feel the groove and get into it! From James Brown and Funkadelic to Kool and the Gang and the Fatback Band, it's all about the groove and 'that' sound. In an age where digital technology is fast becoming king, Funkshone offer you a slice of yesterday for tomorrow. So turn it on, turn it up and get down to the deep funk sound.

PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.

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Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.

Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.

Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.

PYJÆN are delighted to announce the release of their second album 'Feast', planned for September 2021 on DeepMatter Records. The five-piece outfit reaches inside the deep, multidimensional well of what is broadly called Jazz, bringing together all its diverse components in a singular, emotional sound. After setting a blueprint for their multifaceted artistry, combining cross-genre sensibilities with ferocious talent on their first two releases, PYJÆN have been busy writing and recording music for their second album, their most accomplished offering yet. ‘Feast’ was recorded at Peter Gabriel's legendary Real World Studios in Bath over a full week in November 2020. This proved to be an unforgettable experience, which elevated the music and created an unrivalled connection between the 5 band members and the albums featured artists Nix Northwest, Elisa Imperilee, Hilts and Corto Alto.
With the recording of this new record, each member of the group brought their own specific flavour to the table.

They explain: “We want the album to showcase our growing abilities and confidence as a group of 5 individuals, each with strong personalities and varied sets of influences, while still leaving room for featured artists, an exercise we thoroughly enjoyed on our 'Sage Secrets' EP with Blue Lab Beats and Odette Peters.” The EP reached over 1M streams on Spotify within only a few months, testimony that the band has become a major force in the UK "Jazz and beyond" scene. Their new album will fearlessly navigate the world of funk, jazz, hip-hop and punk. With their trademark raw energy, their objective is to bring people together in their love for music. 

Adventurous songwriting, meticulous timing, incredibly tight horn arrangements and an obvious joy to play together are the PYJÆN trademarks. These are brought to the table in ‘Feast’ through vibrant melodies and rich cadences. The band presents a full course musical experience with four singles: in ‘Beetle Juice’ the band joins forces with rapper Nix Northwest to offer a delicious tune characterized by an easy-going yet alluring atmosphere. ‘The Nightbus’ sees a vivacious journey narrated by enticing piano, guitar and trumpet motifs. ‘Moonlight’ sets a sultry tone with Elisa Imperilee’s ethereal vocals accompanied by delightful and intricate beat sequences. ‘By Your Side’ is the final instalment before the great ‘Feast’ showcasing an enchanting vocal exchange between Byulah and Renato Paris. With its mouth-watering combinations of jazz, ‘Feast’ is a witness to the band’s exponential growth, taking listeners on a vivid sensory experience

Formed in 2016, PYJÆN is composed of Dani Diodato (guitar), Dylan Jones (trumpet), Ben Vize (sax), Benjamin Crane (bass) and Charlie Hutchinson (drums). Releasing their debut self-titled album to wide critical and public acclaim, they have gathered support from the likes of Gilles Peterson, Huey Morgan, Jazz FM, and Clash Magazine to name a few. Live, as seen at A Love Supreme, Ronnie Scott's, Jazz Cafe or Brainchild Festival, the atmosphere is sizzling and the sense of enjoyment communicated from the stage is infectious.

Composed by legendary library guitarist and founding member of I Gres, Silvano Chimenti, and accompanied by his orchestra, "Disco Music" is an essential release of the Usignolo catalog and probably one of the most sought after titles of the series. This album displays a broad range of styles masterfully blended together by Chimenti, going from disco-funky bangers "Happy California" and "Autostrade Americane" that lead way to the more dramatic and suspenseful vibes of "Society Problem" and "Tragedy", finishing off with the rock vibes of "Indian Summer" and the mellow atmospheres of softer, lounge-like songs such as "Lady Primavera" and "Chiara". One of the most complete and well-rounded library albums of its era, "Disco Music" is finally available on vinyl once again after a very long time as a limited edition pressing of 500 copies.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.

Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

Neue Instrumentalgruppe, ein achtköpfiges Blechbläserensemble, das mit seiner ersten 7"-Vinylsingle "Conrad's Lesson" und "Ward to Ward" Wellen schlagen wird. Dieser Knaller von einer Veröffentlichung mit zwei spektakulären Melodien zeigt die Einflüsse der Gruppe. Die A-Seite, "Conrad's Lesson", liefert einen pulsierenden Midtempo-Groove, angetrieben von funkigen Drums und geschmückt mit wunderbar sanften Bläsermelodien. Das Juwel der B-Seite, "Ward to Ward", bietet beschwingten New Orleans Second Line Funk, der durch synkopische Beats und temperamentvolle Bläserarrangements den Geist des Feierns und der Freude verströmt. Inspiriert von den gefühlvollen Klängen der Kashmere Stage Band, Curtis Mayfield - und natürlich von zeitgenössischen Vorreitern wie der Young Blood Brass Band und der Hot 8 Brass Band.

Edwin Birdsong’s self titled album was released in 1978 on Philadelphia International Records at the height of the Disco craze. By this time, Edwin was a major player at PIR and a talented songwriter and producer as well. Birdsong’s vision hits the mark as the album boasts several gems that became dance floor classics, especially in New York, Philadelphia, Chicago, LA and San Francisco. “Cola Bottle Baby”, “Kunta Dance” and “Goldmine” are all hard hitting funks gems that kick in hard and are ready for partying. Daft Punk sampled the hitsong "Cola Bottle Baby" in "Harder, Better, Faster, Stronger". The sexy “Lollipop” is years ahead of its time and the irresistible “Freaky Deaky Sities” and “Phiss-Phizz” both became huge club hits, despite not having charted on any of the Billboard charts. Even though the album missed the charts, it became something of a hot item for disco/soul music collectors. Edwin Birdsong is available as a 45th anniversary limited edition of 750 copies on crystal clear and transparant green marbled vinyl.

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Joseph Washington Jr.'s 1983 holiday LP puts a soulful, funky, suave ribbon on nine frosty Christmas cuts. In that season of music's traditional descent into threadbare schmaltz, Merry Christmas to You restores joy and wonder to a blizzard of bland. Under this tree, find undiscovered classics for our cynical age: the buoyant "Jesus' Birthday," the hot and bothered soul of "Merry Christmas," the ridiculously catchy wallet-opener "Shopping." The world of records produces just a precious few yuletide keepers: Spector's A Christmas Gift for You; Fahey's The New Possibility; Guaraldi's indelible Charlie Brown Christmas. Down another nog and file Joseph Washington Jr. comfortably next to those.

Green Vinyl Joseph Washington Jr.'s 1983 holiday LP puts a soulful, funky, suave ribbon on nine frosty Christmas cuts. In that season of music's traditional descent into threadbare schmaltz, Merry Christmas to You restores joy and wonder to a blizzard of bland. Under this tree, find undiscovered classics for our cynical age: the buoyant "Jesus' Birthday," the hot and bothered soul of "Merry Christmas," the ridiculously catchy wallet-opener "Shopping." The world of records produces just a precious few yuletide keepers: Spector's A Christmas Gift for You; Fahey's The New Possibility; Guaraldi's indelible Charlie Brown Christmas. Down another nog and file Joseph Washington Jr. comfortably next to those.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Isabel Roberts mid-80s stand-out singles from the Hot Vinyl stabel reissued for the first time back-to-back on one 12". UK electric-boogie-synth-funk essentials on limited 12" as part of Backatcha's 'Hot Vinyl' reissue series.

The weather might never be hot in the UK but the 7th release from Regulate Recordings is an absolute scorcher! Coming hot on the heels of the “The Rhythm / Make Em Bounce” going to the top of the Juno charts and doing serious dance floor damage the North West imprint have gone even bigger for the next release with a daisy age inspired transatlantic cross over.
Manchester producer Atomphunk has teamed up with Seattle Duo Mugs and Pockets with turntablist extraordinaire DJ Deviant on the cuts. The results are without doubt the jams of the summer, which is handy because the A side is called “Summer Jam”. With a popping funk bass line and rhymes dancing over the top that immediately evoke the spirit of the Native Tongues, but added into the mix is that Grand Central / Fat City groove and the West Coast USA bounce of Jurassic 5 and their collaborators, (Chali2Na is a big supporter of Mugs & Pockets). In a packed field “Summer Jam” might just be Regulate’s biggest release yet.

Things don’t let up on the flip “Back For More” sees Atomphunk go for the hotter stickier side of the season, with a more laid back synth driven groove evoking Roy Ayers and Quincy Jones, but with crisp beats and Mugs and Pockets bringing it once more. Don’t sleep on this one.

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

One of the greatest UK White Labels of all time. Terrestrial Funk brings you an absolute summer sensation over three decades delayed. Relegated to obscurity until now, this four track EP boasts the downtempo hit ‘Summertime’ alongside three electronic bangers… and mash. The dubbed out stabs of ‘Jennifer’ on the A2 and two never before heard versions of ‘Let’s Climb’. Feel the festival ready power of the ‘Come To Me Mix’ and lose yourself to the hypnotic squelch of the ‘Glad You Made It Dub’, ready for sweaty summer nights.

In the late eighties, Simon Akers and Jason Brown began producing in a quaint home studio. Later collaborating with likeminded talents through the early nineties. Terrestrial Funk has worked with the group to transfer all their old digital audio tapes and bring you a series of fresh music yet to see the light of day. Jacqueline Foster aka Jacquoda brought her stunning voice to the project on this massive single showcasing vocals that shine brighter than the summer sun. Grab your copy today!

The latest full-length from Kishi Bashi, Kantos is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP Omoiyari - a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II - the Seattle-born singer/songwriter/producer's fifth studio album encompasses everything from Brazilian jazz and '70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-'80s). Informed by an equally kaleidoscopic mix of inspirations - the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete - Kantos ultimately serves as an unbridled exaltation of the human spirit and all its wild complexities. During the earliest stages of creating songs for the album, Ishibashi's main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt - a turn of events that quickly catalyzed the existential inquiry at the heart of Kantos. Although his ruminations on AI, transhumanism, and humanity's troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as "less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love." "If there's anything I want people to come away with when they hear this record, it's a feeling of excitement about the possibilities of human-created art," he says. "Even as we're learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There's still no limit to what we have to offer."

3. Album der instrumentale Rock-Band Der Neue Planet aus Köln. Sie bezeichnen ihre Musik als"Heavy Dream Prog" bezeichnen: Schwere wuchtige Stoner Riffs bilden den Kontrast zu verträumt-spielerischen Post-Rock-Melodien und immer wieder wird man als Hörer durch Stilwechsel überrascht. Die Songs sind lang und entfalten einen wilden Genre Mix verschiedener Einflüsse: Jazz, Latin, Funk, Metal, Doom, Psychedelic oder Disco. Die Kompositionen sind vielseitig und progressiv ohne dabei in technische Dudelei oder laut-leise Post Rock Klischees zu verfallen. In fünf sehr unterschiedlichen Stücken tobt sich die Band aus und berührt zahlreiche Stile der Musikgeschichte, ohne ihren eigenen melodischen Wiedererkennungswert zu verlieren. Eine genaue Genre-Einordnung fällt schwer. Post- und Stoner Rock Elemente verschmelzen mit Sounds von Funk bis Jazz, über Kraut- und Psychedelic-Rock Parts, bis hin zu knüppelharten Metal-Klatschen. Wie bei Der Neue Planet üblich gibt es eine Menge zu entdecken.

First-ever release of the long-lost original full length versions of tracks from Sheena’s 1985 hit collaboration with super producer Nile Rodgers. Remastered from the original master tapes and pressed on orange coloured vinyl with brand new artwork including full lyrics and rare photos.

Features the previously unreleased uncut versions of singles ‘Jimmy Mack’ and ‘Magic Of Love’, original alternate ‘Break Mix’ of ‘Do It For Love’ and 7 minute+ take on the rock-funk
workout ‘Don’t Turn Your Back’
This orange vinyl ‘Uncut Nile Rodgers Sessions’ edition of 1985’s dance-R&B orientated ‘Do You’ features eight previously unreleased full-length versions of tracks from the hit album.

‘Do You’ finds Sheena Easton hooking up with Nile Rodgers at his imperial 1980s superproducer peak - following mega hit productions for the likes of David Bowie, Madonna and Duran Duran. Easton fully embraces her new upbeat, pop-funk direction on tracks like the Top 30 US dance hits ‘Do It For Love’ and classic Motown cover ‘Jimmy Mack’, as well as sensual groove ballads like ‘Magic Of Love’ and ‘When The Lightning Strikes Again’.

Action Speaks Louder Than Words is the 1975 debut album by Chocolate Milk, a funk and soul band from New Orleans. The band emerged in the mid-1970s and quickly gained recognition for their unique sound that blended the rich musical traditions of their hometown with the influences of contemporary funk and soul. The band was discovered by producer Allen Toussaint, a legendary figure in New Orleans music, whose influence is evident in the polished arrangements and the band's tight, cohesive sound. The album's themes of social awareness and personal reflection, combined with its infectious grooves and skilled musicianship, have ensured its lasting appeal. Also due to the single and title track ""Action Speaks Louder Than Words"", which charted well and was later sampled by numerous artists, including Public Enemy, Eric B. & Rakim, Aaliyah, Neneh Cherry and Toni Braxton feat. The Notorious B.I.G & Puff Daddy, cementing its place in music history. Action Speaks Louder Than Words is available as a limited edition of 500 copies on red coloured vinyl.

Previously Unreleased Recording. Limited to 1200 copies on transparent cherry vinyl. Tip-on jacket, Download code. Insert featuring LP sized original art by Grungie O'Muck. Includes the original recording of Richard Tucker's "Are You Leaving For The Country", later covered by Karen Dalton, and the only song co-written by Karen & Richard, "Sleeping In The Garden". "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." -Mike Jahn / New York Times (1970) "For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." - Grungie O'Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one. Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots - The Gaslight, The Bag I'm In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with Peer-Southern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced. Some of the songs were re-recorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam "One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we've ever heard. Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They'd recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio" (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals. Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert's own songs were garnering attention from publishers. According to Bert, "I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss. Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as prog-rock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct." Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?" "The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of song-slingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! - Loudon Wainwright lll

Leif Maine and Jackson Mathod are thrilled to announce the August release of their album, "Volte-Face", with a single of the same name. This collaboration marks a bold new chapter in contemporary jazz, blending traditional and modern elements with great artistry and a willingness to explore many genres on one project.

"Volte-Face"is a sonic journey that showcases Maine's innovative compositions and Mathod's masterful trumpet performances. The album features a rich tapestry of sounds, from soulful melodies to intricate improvisations, capturing the essence of their dynamic synergy. Each track is meticulously crafted, promising an immersive listening experience for audiophiles and jazz enthusiasts alike.

Volte Face, the single, features rapper and Washington DC transplant (born and raised in NY), J Scienide. J has been around the great in underground Hip Hop. He shared a manager with the late and great MF DOOM, released and recorded with D-Styles from the World Famous Beat Junkies/ Invisibl Skratch Piklz, worked with super producer Daringer (Griselda Records/Action Bronson). He is regularly supported by FunkMaster Flex, Peter Rosenberg, Dj Premier, Dj House Shoes, Statik Selektah and many more.

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

In these uncertain times marked by doubt and fear, hope is born in the hearts of those who believe that one day, humanity will resurface from the ashes of history to shed light on the dark territories.

To revive the spirit of resistance through sound, Detroit’s enigmatic SCAN 7 used its rethinkable frequencies to connect with a few chosen producers and craft an antidote to our orchestrated reality.

After months in their lab, SCAN 7 is happy to present Hallowed Ground, a six-track vinyl compilation freshly released on their new SCAN label. The compilation pays tribute to the epicenter of artistic, physical, and intellectual movement: Detroit.

The musical journey features the legendary AUX88, The Man With No Name, eMICee, Inohs Sivad, Charles Prophet Jr., Demiån Monét, Dre Brown, and of course, SCAN 7. This project also includes Scott Avery’s “Low-Key Seduction Mix” of SXERANADE on the digital release.

Hallowed Ground is a testament to the richness and depth of Motor City’s musical background. It encapsulates a diverse range of genres, from the soulful rhythms of Soul and Funk to the pulsating beats of Techno and beyond.

Lavender Vinyl. In the late 1970s, a peculiar sound began bubbling up from the land of 10,000 lakes. Buried beneath 50 solid inches of annual snow, Minneapolis made a Sound quite different than what the pop world foresaw. It issued forth as a slick, black, technologically advanced fusion, poised to storm the charts. Never known for sizable African-American populations, the Twin Cities of Minneapolis and St. Paul in fact harbored a tight-knit community of musicians working feverishly through the late '70s and early '80s toward a radical manipulation of American dance music, coating futuristic funk with the glamorous sheen of guitar rock. Synthetic ebony and ivory met electricity, with sexed-up results sent shockingly across the pop heavens like violet lightning.

The 8-LP box set Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 features of live performances by Miles’ stellar band lineups from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in New-
port, Rhode Island, New York City, Berlin, and Switzerland. From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan), to his final public performance of the ‘70s in 1975, the box set traces the ascen- dance of Miles’ music as the jazz superstar he has become known to be.

The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in ‘66 and ‘67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 is available as a deluxe 8LP box set, housed in a lift-off box. The set includes print- ed innersleeves, a mini poster of Miles, and a 12-page booklet with extensive liner notes and rare photos.

The follow up album to 2019's Dusted Jazz Volume 3. Pressed on 180 gram, White & Orange Marbled Vinyl. Jenova 7 emerges once again as a beacon of auditory innovation with his latest opus, Lost Sci-Fi Movie Themes. Released under the banner of Cold Busted, this collection of 16 tracks serves as a time machine, whisking listeners away on a journey through dimensions both familiar and uncharted since his last foray with 2019's Dusted Jazz Vol. 3. Jenova 7 has meticulously crafted an album that resonates with the essence of ‘90s trip hop nostalgia while propelling us into the cosmos of futuristic soundscapes. The album's standout tracks—“The Future 1995,” “My Zero G Love,” and “Downtown Lost In The City Of Lizards”—are masterclasses in genre-blending and atmospheric storytelling. "The Future 1995" envelops one in a nebula of boom-bap beats, cosmic sound effects, and b-movie vibes, creating a sonic experience that feels like intercepting radio signals from a distant, funk-infused galaxy. Meanwhile, “My Zero G Love” floats the listener through the velvety darkness of space with its sexy lounge feel, portamento synth lines, and the undeniable funk that glimmers under starlight—evoking the sensation of grooving in weightlessness. Then, there's “Downtown Lost In The City Of Lizards,” a track that saunters through the urban jungle with sparkling keys, evocative guitar spurts, and strutting jazz bass, painting a picture as vivid and surreal as its title suggests. Jenova 7's skill lies in his ability to fuse moody, jazz-inflected samples with grooves that draw one into a distinctly atmospheric sound—a cinematic journey through time, space, and emotion. His tracks are experiences, wrapping the listener in a cocoon of vibrant soundscapes that are both introspective and expansive. Lost Sci-Fi Movie Themes is an invitation to explore the unknown, to lose oneself in the depths of imagination and emerge on the other side transformed. For DJs looking to transport their audience to another dimension and for music fans yearning for a taste of nostalgia wrapped in the allure of the future, Jenova 7's latest release is a must-discover treasure. Dive in and let the odyssey begin

”It Takes A Thief” ist eine Sammlung von Tracks, die von Rob Garza und Eric Hilton speziell für langjährige
Fans und für Musikliebhaber ausgewählt wurden, die zwar schon von Thievery Corporation gehört haben,
aber vielleicht noch nie etwas von der Band gehört haben. ”It Takes a Thief” enthält den wunderschönen
Track ”Lebanese Blonde”, der auf dem mit einem Grammy ausgezeichneten Garden State Soundtrack zu
hören ist, sowie ”Sound the Alarm”, den funklastigen Track, der zum festen Eröffnungsstück für die LiveShows der Band geworden ist. ”It Takes A Thief” erscheint nun zum ersten Mal als 2LP.

Two great soul vibes from the master of funk, Mr James brown. First up from the There it is LP is one of favs "Never can say goodbye" i just love this groove and bass vibe. killer horn lines - S okin"

on the flip is another soul class from the man. "You took my heart" from the getta up offa that thang lp. it has such a lovely swing to it, loads of movment!!! essenal

x600 copies only

Renowned New Zealand musician Nathan Haines announces his eleventh studio album and first solo album since 2014. Nathan’s vibrant career has solidified his status as a leading figure in contemporary jazz and electronic music, and throughout his career he has distinguished himself as a masterful saxophonist, flautist, and composer, celebrated for his innovative fusion of jazz with elements of soul, funk, and dance music. Notes maintains the jazz sound he is famed for, whilst also seeing the artist embrace the electronic/house and disco scene.

A labour of love, work on the album started several years ago alongside the now deceased UK producer Phil Asher who had produced Nathan’s two most successful albums Sound Travels and Squire For Hire. Regarded as one of the finest DJ’s and producers to emerge from the UK, playing a pivotal role in bridging the gap between 4/4 and broken beat, this was the first time Nathan and Phil had worked together in over eighteen years. Phil passed away during the recording of the album, but he appears on a number of tracks, and his spirit and influence can be felt throughout the entire release.

The album features a number of guest vocalists, including UK soul-diva Vanessa Freeman (Bugz In The Attic, 4 Hero, Kaidi Tatham, Kyoto Jazz Massive), and exciting young talent Ajuna Oakes, Ruby Cesan, La Coco and EO (NZ). Alongside Nathan’s own musicianship, the album also features bass from Razor-N-Tape label founder Jkriv and electronic jazz pioneer Mark de Clive-Lowe, with both bringing a wealth of collaboration and musicality to the project. Long time collaborator and much respected UK based producer Marc Mac (one half the highly influential and respected duo 4Hero) provides beats for a number alongside Nathan’s father Kevin on acoustic bass.

Highly respected DJ and producer Frank Booker (Razor and Tape) drops his signature beats on three tracks which fits nicely alongside Asher’s drum work. The album’s one cover see’s Nathan teaming up with vocalist Rachel Clarke on their version of Storm by US 80’s vocal group Rare Silk - this track is entirely acoustic and is one of the album’s special moments both artistically and musically.

The past years have seen Haines continuing to establish himself as one of NZ's best DJs and live performers, working on releases and remixes with the likes of Chaos in the CBD, Frank Booker, JKriv, Ray Mang and many others. He has also just released a solo album on Goldie's Metalheadz label under his Sci-clone alias co-produced with DJ A-Sides to excellent reviews and featuring a wealth of talent and musicianship.

Portuguese renegades Diogo and DJ Doggo bring us sexy broken beats, in-your-face samples and sumptuous bass on this new EP from Welt Discos. First, Diogo caresses us with the soulful shuffle of ‘I Need U’ and his moody remix of ‘Aileron Pt. 2’ by jazz-funk band Yakuza. On the flip, DJ Doggo hits us with swung party grooves on the garagey ‘In My House There Will Always Be House’ and the body rockin’ ‘Let Me See You Dance’.

During autumn 2018, after moving to Germany, Aron Ottignon met Senegalese musician and percussionist Bakane Seck, founder and leader of the Jeri JeriBand, in his Berlin studio. This first meeting gave rise to a special connection between their instruments and the start of a musical adventurethat transcends borders, an instrumental conversation of profound simplicity nourished by the richness of jazz, electronic music and Wolof tradition. The brainchild of composer and producer Aron Ottignon and percussionist Sabar Bakane Seck, Aron & The Jeri Jeri Band (A&TJJB) was born at the crossroads between Berlin and Dakar and oscillates between the frenetic rhythm of mbalax, the strength of afrobeat, the warmth of afro funk and the eï¬Çervescence of jazz. Born in New Zealand, the pianist released a series of critically acclaimed jazz albums in the 2000s. As a composer, Aron Ottignonhas collaborated with Stromae, toured the world with Woodkid and worked with a host of artists including Electric Wire Hustle, Louane,Broken Back, Empire Of the Sun and Myele Manzanza. Senegalese musician and griot Bakane Seck"s mastery of the Sabar - "percussion instrument" in Wolof - has taken him all over the world alongsideAfrican music icons such asYoussou N"Dour and Baaba Maal.

"In the summer of 2021 I was introduced to the French filmaker Émilie Deleuze in Paris. She asked me if I would create a soundtrack for a film she intended to make titled Cinq Hectares. When I asked Emilie what the story of the film was about she replied "It's a comedy and road movie , about a guy driving a tractor across France". I love road movies and I had never composed a movie soundtrack before so I immediately said "yes". I recorded the soundtrack in the summer of 2022 in east London with the help of producers James Rand & Thomas Gorton of @godcolony and a bunch of great young musicians they introduced me to, one of which @alwhite who now plays saxophone with Primal Scream. Émilie's film is an absolute cracker and I'm very proud of the soundtrack. Hope you enjoy listening to it as much as we did making it”

Bobby Gillespie, June 2024

Colombian-born, New York-raised producer and instrumentalist Felipe Quiroz aka Prince of Queens brings his unique synthesis of trans-caribbean culture with house and techno to RNT on his Merida EP.

Known for releases on Names You Can Trust and his band Combo Chimbita, this lush and varied EP invites you into a world where vintage tropical sounds and modular synthesizers live side-by-side on the dance floor. With 6 songs stretched across two sides, the record explores a wide range of tempos and electronic Latin vibes, and boasts gorgeous cover art that suits the emotion of the music perfectly.

Although he is a seasoned producer, Prince of Queens is still a relatively new name on the club scene…but with this definitive musical statement it’s a name that the heads will remember.

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

Funkyjaws Music has decided to offer up its first solo EP here having decided to make the previous four volumes of its Let's Dance series various artists collections. JKriv gets the nod here and doesn't disappoint. First up is the leggy mid-tempo disco of 'Share The Night' with its chattery Chicago house style drums and rasping bass. 'Big Chief' is a brilliant mid-tempo jumble of percussion, toms, hits, grinding bass and lazy kicks and 'Let's Do It Right' then takes off on nice clean piano house grooves full of uplifting joy. 'Acid Fantasies' closes out a truly varied EP with a more raw and direct acid house jacker.

Born and raised in Richmond, Virginia, keyboard player Lonnie Liston Smith moved to New York in 1963 playing with the likes of Dakota Staton, Al Hibbler, Max Roach and Abbey Lincoln and Roland Kirk. He made his first recordings with Kirk and in 1968 entered into a mutually rewarding and instructive partnership with Pharoah Sanders and Leon Thomas. In 1971-2 he toured Europe with saxophonist Gato Barbieri appearing on his 1973 albums “Under Fire” and “Bolivia”. His growing reputation was also burnished by playing Fender Rhodes with Miles Davis electric band.

The second of these Barbieri LPs was released on Bob Thiele’s Flying Dutchman label. Thiele was quick to sign Smith and release Smith’s first album under his own name, “Astral Traveling”. Backed by his Cosmic Echoes band, Smith served up a beautiful spiritual and funky stew on tracks like ‘Let Us Go Into The House Of The Lord’, ‘Rejuvenation’, ‘I Mani (Faith)’ and ‘In Search Of Truth’.

Smith went on to record “Expansions” one of the greatest funky jazz albums of all time in 1975 but this debut really paved the way towards that musical milestone.

Ace are delighted to reissue “Astral Traveling” in a gatefold sleeve that, like the original pressing, has liner notes by legendary jazz critic Nat Hentoff.

Viele sehen Louis Cole immer noch in erster Linie als Schlagzeuger. „nothing“, Coles fünftes Album und sein drittes auf Brainfeeder wird diesen Eindruck sicherlich ändern. In Zusammenarbeit mit dem Metropole Orkest und Jules Buckley lehnte er den ausgetretenen Pfad der orchestralen Wiedergabe seiner größten Hits ab und entschied sich stattdessen, eine Reihe brandneuer Musik für dieses Album zu komponieren - größer, kühner und ausladender als je zuvor. Ja, es gibt Anspielungen auf sein GRAMMY-nominiertes Album, „Quality Over Opinion“, aus dem Jahr 2022, aber 15 der 17 Titel auf diesem Album sind brandneu. Das ist Jazz. Das ist klassische Musik. Es hat diesen Funk. Du wirst Synthesizer und Loops hören. Du hörst eine Band und Live-Schlagzeug. Es spielt ein Weltklasse-Orchester. Einige Stücke sind ultrapräzise, während das ausufernde „Doesn't Matter“ die Zehn-Minuten-Marke überschreitet. Für Cole war der Jazz schon immer der einzige Ort, an dem man wirklich alle Erwartungen loslassen kann - bei „nothing“ lässt er der Musik freien Lauf.
Das Metropole Orkest erwies sich als der ideale Partner für dieses Unterfangen. Im Laufe seiner 80-jährigen Geschichte hat es mit Legenden wie Ella Fitzgerald, Pat Metheny und Herbie Hancock zusammengearbeitet - genau die Art von grenzüberschreitender Mentalität, die Cole suchte. Wenn man dann noch den Dirigenten, Arrangeur, Kurator und Komponisten Jules Buckley hinzunimmt, ist das eine dreifache Bedrohung von epischem Ausmaß. Buckley ist ein einzigartiger und seltener Künstler - ein GRAMMY-Preisträger, der das Regelwerk der Orchestermusik und die Rolle des Dirigenten neu definiert hat.

Mit As It Happened bringen Horse Lords die Inbrunst und Wut der Shows ihrer geliebten Band auf Vinyl heraus: Horse Lords Live, einer Sammlung von Aufnahmen, die die galvanische Energie des Quartetts wie nie zuvor einfangen und gleichzeitig mit der Trope eines Live-Albums spielen. Aufgenommen bei einer Reihe von Konzerten in ganz Europa, die sich über mehrere Tourneen in den Jahren 2022 und 2023 erstrecken, ist As It Happened eine vermittelte und in manchen Momenten bewusst und auffällig bearbeitete Präsentation einer Horse Lords-Performance, die nach einem gewissen Grad an Idealisierung strebt. Da die Performance im Mittelpunkt der Bandpraxis steht und Elemente des Zufalls mit der straff komponierten und komplexen Musik der Horse Lords kollidieren, funktioniert As It Happened sowohl als Provokation als auch als totaler Spaß.

Yann Polewka is the man in charge of the GLBDOM label's fifth outing and a fine one it is too.

He brings plenty of timeless house vibes to the opener 'Keep On' with its Kerri Chandler style bumping kicks and feel-good piano chords next to subtle vocal chops packed with soul. 'Oblivion' is another upbeat, uplifting house cut with a classic underbelly and rich chords to get those hands in the air. 'The Light' once again layers up well-crafted chords, irresistible drum funk and nice analogue percussion.

Last of all, Jesse Bru's Sea Of Change remix of the same tune brings a more deep and late night feel to close out a top EP.

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

2024 Repress

A Banger from D-Omen !

Massive loud analogic kick with a funky dynamic and a digital acid-noise for the story telling.
Live set total !
Direct machien to the cut.

FATAL !

Milkcrate Mondays has got a red hot 7" on its hands here with DJ Abel and DJ Spinobi taking one side each. The former kicks off by, says the label, "taking an Ocean classic for a trip to Miami." His take on 'Lost' is a funk-laced jam that blends r&b vocals with bubbling beats and jazzy keys into something brilliantly seductive. On the flip side, DJ Spinobi lays down some heavyweight Afro drum patterns and raw rap bars on 'Bay Bunny' while 'PRVNZA VIP' is a more blissed-out island sound with reggaeton undertones and angelic Spanish vocals up top. A real summer weapon.