Cerca:fusion

Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record by Libyan artist Cheb Bakr, hitting the shelves on December 6, 2024. Recorded in the early 2000s, Bakr’s music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr’s sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali.

Our journey with Cheb Bakr’s music began when Yousef Alhoush, whose father Najib Alhoush led The Free Music from Libya, generously lent us boxes of cassettes to digitize. With the help of a journalist traveling from Tripoli to Cairo, we brought the tapes and a high-quality deck to Egypt. For three days in a hotel room on Zamalek island in Cairo, we sifted through nearly 100 tapes, finally landing on several from Cheb Bakr that dated back to the late 1990s and early 2000s. His albums stood out for their fresh, genre-defying sound—Bakr’s vocals flowed effortlessly over R&B and hip-hop beats with touches of jungle and drum and bass percussion, creating a fusion that crossed cultural and musical boundaries.

Returning to Berlin, we took a deeper dive into the digitized tapes, identifying bands, singers, and producers that excited us. In the process, we noticed familiar rap verses on a few of Bakr’s tracks—verses by none other than Ahmed Ben Ali, who was about to release an album with Habibi Funk. When we asked Ahmed about his connection with Bakr, he explained that they’d collaborated closely at Jamaica Studios in Benghazi, with Ahmed even producing some of Bakr’s songs.

Despite having lost touch for years, Ahmed helped us reconnect with Cheb Bakr through mutual friends. Their reunion took place in Bakr’s living room, where we joined them on a video call to discuss Bakr’s career and his influences. He explained how he sought to reinterpret eastern Libyan folk sounds for a new generation, blending them with contemporary genres.

This 45 marks the beginning of our work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr’s dynamic range. Side A features “Samh Almea'ad,” a reinterpretation of a 2003 New York classic with Bakr’s signature spin. Since our first listen in that Cairo hotel room, it’s been played at every Habibi Funk set without exception. Side B, produced by Ahmed Ben Ali, features “Rjana Lamta,” a track that hints at American influences alongside a nod to Ahmed’s “Dameek Majeb.” Bakr’s artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story. Samh Almea'ad will be out on vinyl December 6th.

Licensing info: These songs were licensed from Cheb Bakr. We pay the licensing partner 50% of the profits of this release. Only project related costs are deductible from the gross income, research and travel costs come out of our own share. Publishing was not included in our agreement (We feel it’s important to be transparent about these deals, therefore we will include these infos in all future releases).

In what many consider to be the birth of jazz fusion, Emergency!, led by Tony Williams (drums) with bandmates John Mclaughlin (guitar) and Larry Young (organ), is a true adventure in the beginning of the jazz-rock blend that would take shape in late 1960s and beyond. From the opening title track, the direction is decisive and commands attention as Williams leads his crew through a mixture of swing, rock and free jazz that cements its place as one of the most influential albums of the time. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Limited edition 180g vinyl - the complete LP + 6 bonus tracks.

An essential figure in the fusion between jazz and bossa nova, pianist/composer Sergio Mendes, who passed away on the 6th of September (1941-2024), recorded over 55 releases under his own name.

This release presents the complete original album 'Voce Ainda No Ouviu Nada', (literal translation: You Still Haven't Heard Anything), originally released in the US as 'The Beat of Brazil'.

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo moderna is back with his female alter ego singer Krage, for some 80s flavored, chiptune infused, electro-latin bangers. Unofficial Electo-Funk anthems? Sweaty remakes from outta space? who knows.. the only unquestionable thing here is that loads of fun await the crowd when dropping this tasty 7” on the turntable. Certainly not your average tropical music, though.

This double sider stands as a foretaste for the album release in May 2024, that will unite this pair in a perfect fusion of Afro-Latin rhythms and modern synth pop.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

DJ Support: Kevin Reynolds, James Baron, Hot Toddy, Pablo Valentino, Colin Dale

Suite For Chick is a heartfelt Homage to the late Jazz Maestro Chick Corea.

This collection features reinterpretations of City Gate, Rumble, Time Track, and Hymn of the Heart from the Chick Corea Elektric Band, as well as Return to Forever’s classic Romantic Warrior. These vibrant renditions celebrate Corea's enduring legacy in the jazz world.

Chick Corea played a crucial role in shaping Miles Davis's electric fusion era and was a key member of his Lost Quintet. He was also a founding force behind Return to Forever and many other influential groups.

Bangkok-based Maarten Goetheer collaborates with top Thai drummer Pong Nakornchai, blending Wurlitzer chords, Moog basslines, ARP leads, and signature Rhodes phasings. Nakornchai, a Master’s graduate in Jazz Studies from Mahidol University, leads his own quartet and embodies the progressive spirit of modern jazz in Thailand.

Maarten's inspiration stems from his musical upbringing; his father, Gerard Goetheer, was a jazz pianist. This environment fostered his deep appreciation for music. A pivotal moment came when he heard Masters at Work remixing Tania Maria, igniting his vision to merge genres and create something new.

With Suite for Chick Maarten wanted to incorporate a wider range of Modern influences that he became infatuated with throughout his Musical career such as Techno, Italo, Cosmic Disco, Dub, Acid, Boogie, Proto-House & Ambient Music.

To Maarten bringing these genres together is his current and unique interpretation of the JAZZ FUSION moniker.

Radio Support: Kev Beadle Radio support, Colin Curtis Radio support, RINSE FM mini album mix & interview on Tim Garcia show, BBC6 RADIO New Music Fix 16th Oct 2024

DJ Feedback:

DJ Harvey - Very cool collection of reworks

Terry Farley - so fucking good - house heads will be lovin’ this

Laurent Garnier / FG Radio France: Whaouuuu. That’s brilliant. Great album!

Lars Behrenroth / Deeper Shades Of House: This is so cool. Love the dub of City Gate, too. Great music

Jimpster / Freerange: Great idea to work up some contemporary interpretations of Chick classics! Was always a fan of Time Track so nice to hear this one included. These tracks strike a really nice balance of electronic/sequenced elements and live recording. I’m into it!

Tim Garcia / Rinse FM: I think this whole release is excellent and inspired, nice to see a tribute to one of my favourites work so well.

a A1: City Gate Rumble Original
[b] A2: City Gate Rumble [Reprise Dub]
[c] A3: Romantic Warrior [Original]
[d] B1: Time Track [Original]
[e] B2: Time Track [Reprise]
[Original]

Cosmic Tribe is excited to release CALAGAD 13’s latest EP, “Bio-Synthetic,” a compelling exploration of a dystopian future where biology and technology intersect. This limited edition white vinyl release, with only 150 copies available, features the original tracks “Biomantics” and “Synthogerm,” alongside standout remixes by CREASOL, C-SYSTEM, 5ZYL, and EC13.

“Biomantics” immerses listeners in a dark sci-fi realm where scientific advancements manipulate memory and energy, introducing a biotechnological entity that defies natural boundaries. The track explores the fusion of biology and technology in a dystopian world.

“Synthogerm” continues this theme with its depiction of hybrid beings created from the combination of synthetic and biological elements. It offers a glimpse into a future where scientific frontiers are continuously evolving and life is constantly reshaped.

The EP’s remixes add diverse stylistic interpretations from leading names in the European underground electronic scene:

CREASOL and EC13 offer unique takes on “Biomantics,” with CREASOL providing an 80s synth wave flair and EC13 delivering an Electro-techno twist.

5ZYL and C-SYSTEM reimagine “Synthogerm,” with 5ZYL infusing it with an Electro/Breaks vibe and C-SYSTEM adding a techno edge.
The “Bio-Synthetic” EP is a must-have for collectors and enthusiasts, available in a limited edition white vinyl format.

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

The Nightstalker - Mystical sounds from the shadows of the night The Zurich duo The Nightstalker, consisting of producers Dan Piu and Popshop (Gary Rich), create a cosmos of sound that plunges deep into the darkness and unfolds an almost magical attraction.

After two acclaimed albums on the Berlin label Childhood Intelligence, they now invite us on a sonic fantasy journey with their new mini-album ‘Isoutopic Fantasia’ on World Wide Web Records.



With six tracks that oscillate between danceable darkness and playful, surreal moments, ‘Isoutopic Fantasia’ embodies a seductive fusion of mystical depth and bizarre beauty. The sounds are addictive and lead us through a musical dream realm where each beat reveals a new twist and the melodies unfold into sprawling, unexpected dimensions. A sonic fantasy carried by the shadows of the night, in which light and darkness unite in a hypnotic dance.



All tracks written & produced by The Nighstalker (Dan Piu & Gary Rich)

Mastering by Johanz Westerman at Ballyhoo Studio (NL)

Celebrated producer Shuko returns with his latest album, Jazzterfield 3, a captivating fusion of hip-hop, soul, and jazz that continues to showcase his signature sound. The third installment in his critically acclaimed Jazzterfield series, this album is a sonic journey that bridges classic jazz influences with modern beats and soulful rhythms. Known for his collaborations with major artists and his standout solo work like Anderson Paak, Kanye West or Chance The Rapper, Shuko’s latest release delivers tracks that feel at home in both intimate listening sessions and vibrant playlists. Whether you’re a fan of golden-era hip-hop, rich jazz textures, or soul-soaked beats, Jazzterfield 3 brings these worlds together in a cohesive, organic sound.

Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle is pleased to announce an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognise its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.

Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra’s self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang we are treated to Maitra stretching out for over forty minutes on the late night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra’s spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician’s birth.

Über drei Jahrzehnte nach ihrer Gründung durch Leslie Mandoki, setzen Mandoki Soulmates mit ihrem Album "A Memory Of Our Future" nicht nur musikalisch neue Maßstäbe, sondern präsentieren ein produktionstechnisches Meisterwerk: Das gesamte Album wurde analog aufgenommen und produziert - vom ersten Ton bis zum fertigen Vinyl. Die Produktion des rund 80-minütigen Konzeptalbums ist ein seltenes Unterfangen in der heutigen Musiklandschaft. Mit durchgehend analoger Signalverarbeitung vom Mikrofon bis zur Vinylpressung ist die Produktion von "A Memory Of Our Future" ein Manifest von Präzision und Leidenschaft, die in jedem Ton des Albums zu spüren ist. Das Mastering des analogen Magnetbandes durch Greg Calbi im renommierten Sterling Sound Studio in New York und der Vinylschnitt in den Emil Berliner Studios sind ein Symbol für die audiophile Exzellenz des Albums. Mit einem Setup, das in der gegenwärtigen Musikproduktion kaum noch zu finden ist, und mit der die Band eine Wärme und Lebendigkeit in ihrer Musik eingefangen hat, die in digitalen Aufnahmen oft verloren geht, haben die Soulmates ein Werk musikalischer Vielfalt geschaffen, das von Prog bis Jazz Rock reicht, und kompositorische Reife, spielerische Leichtigkeit und kunstvolle Solos mit großen Spannungsbögen und tiefgründigen Texten zu gesellschaftspolitischen Themen verbindet. Die generationsübergreifende Supergroup von Rock- und Fusion-Großmeistern mit Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg und Mark Hart (beide Supertramp) ruft mit dem Album zum Handeln gegen Spaltung und für Menschlichkeit auf. Mit "A Memory Of Our Future" gelingt den Soulmates eine einzigartige Verschmelzung audiophiler Exzellenz und gesellschaftspolitisch relevanter Musik. Dieses Album ist nicht nur für Fans von Prog und Jazz Rock, sondern für alle, die echte Musik zu schätzen wissen.

"Bora Rokovic's MPS album, Ultra Native, is one of the most elusive titles in the catalogue and, until now, remained unissued since its original release in 1971. Inzalaco's 'J.B.W.' is a hard-grooving fusion piece with dark minor chords, opening with an almighty drum break – found here in a new all-analogue mastertape edit for this 45 release. 'Soft Hands Had the Rain' features Trunk strutting his stuff on Fender bass, as well as cello overdubs, with Rokovic's brooding improvisations on electric keys."


First vinyl release since 1971 and never before released on 7” single.
AAA Transfers from analogue mastertapes.
Audiophile-grade vinyl – limited-edition pressing of 500 copies.
New artwork authentically recreated on heavyweight gloss sleeves.
Cut at Abbey Road Studios by Grammy award-winning engineer, Sean Magee.

Stalwarts of the London music scene The Boom Yeh are at the forefront of redefining British Jazz-Funk with the release of their new album Near-Earth Objects. Featuring a host of musicians that have worked with Jamiroquai, The Brand New Heavies, Incognito, Alice Russell and Leroy Hutson.

Keep Right On
A blistering syncopated jazz-funk assault reminiscent of The Brecker Brother and Tower Of Power. Featuring solos from trombone player Tom White and sax player/horn arranger Ian Bailey, followed by a virtuosic drum solo courtesy of Alessio Barelli.

Chronic Tonic
A smooth jazz-funker with hip-hop undertones, echoing early Prince with a boogie funk outro in the vein of George Duke, propelled by bass player Matteo Grassi.

Hot Tamale
If Jimi Hendrix was stuck in a Mexican traffic jam, it would probably sound like this. An abrasive funk-rock stomper featuring a heavy duty guitar solo from band leader Jon Speedy.

Pocket Rocket
Deep pocket funk in tribute to George Clinton's Parliament-Funkadelic with be-bop infused horn riffs. Featuring solos by Paul Silver on baritone sax and guest keyboard player Carl Hudson on Oberheim synth.

Near-Earth Objects
High energy jazz-fusion exploring the universe of Herbie Hancock and The headhunters with an afrobeat inspired horn outro. Featuring guest keyboard Carl Hudson on Fender Rhodes and synth.

Othership
Bombastic big band jazz-funk with a rare groove flavoured mid section. Composed by band leader/guitarist Jon Speedy as a nod to his father Dave Speedy - a jazz trumpet player and big band leader.

Mind's Eye
Laid back Ibiza chill out mixtape vibes meets Donald Byrd and the Mizell Brothers. Featuring blissful Fender Rhodes and synth by guest keyboard player Carl Hudson.

Possibilities
A slow burner in the spirit of Roy Hargrove's RH Factor and early neo-soul with a gospel flavoured outro.

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

Upon its release, Big Band Bossa Nova by the renowned American music producer, conductor, arranger, and composer Quincy Jones, released in 1962 received favorable reviews from critics, who praised its innovative arrangements and the seamless integration of bossa nova into big band jazz

It was noted for its lively and fresh sound, appealing to both jazz enthusiasts and fans of Latin music. Over the years, the album has been recognized as a classic in the realms of both jazz and Latin music. It continues to influence musicians who seek to explore the fusion of different genres. The album played a crucial role in popularizing bossa nova in the United States, introducing many listeners to Brazilian music. It paved the way for future collaborations and crossover projects between jazz and Latin music. It is often cited by contemporary artists and arrangers who are inspired by its innovative blend of styles. Its influence can be seen in various genres, including jazz, pop, and world music and is a testament to Jones's ability to adapt and innovate throughout his career. It solidified his status as a pioneer in the music industry, influencing countless artists across genres and generations. Big Band Bossa Nova not only captures the essence of its time but also continues to resonate with audiences today, highlighting the enduring appeal of both big band features contributions from several talented musicians.

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."

Moods & Grooves taps into South Africa’s plentiful talent pool and welcomes the prolific and talented deep house producer Myazisto to the stable.

Known for his lush, soulful soundscapes and hypnotic beats, Myazisto’s unique fusion of minimalistic rhythms and immersive grooves now hits the analog world, offering fans a rich auditory experience.

Myazisto’s first-ever vinyl release and US label debut features two immersive deep house tracks, Centuries and The Grove. Both releases showcase Myazisto’s unparalleled ability to blend soulful house rhythms with hypnotic beats and rich melodies. Centuries dives into timeless grooves, while The Grove takes listeners on a melodic journey through lush soundscapes, solidifying his place in the deep house scene

One of the finest Brazilian jazz funk fusion albums ever recorded; thoroughly deserving of its cult status. First official reissue outside of Brazil.

Cesar Camargo Mariano is a celebrated Brazilian jazz pianist, composer and producer, born in Sao Paulo in the 1940's. He has played and worked with the likes of Elis Regina (to whom he was married at one point), Som Tres and Sambalanco Trio and still plays very regularly today.

'Sao Paulo Brasil' saw Mariano and co. step deep into jazz funk/fusion territory - and nail it. Tight, tough drum grooves, intricate arrangements, layers of synthesisers, percussion and FX transport and tell a story from the first beat.

Support from: Dave Lee ZR, Birdee, Mousse T, Da Lukas, Dr Packer, John Morales, Terry Farley, Horse Meat Disco, Basement Jaxx, Oliver Dollar, Yuksek, Bill Brewster, Bibi Seck, Chloe Callait, Glenn Underground, Nick The Record, Mark Brickman, Jimpster, Damian Lazarus, NTS Radio, BBC Radio 1, Joey Chicago & many more..

Full steam ahead! Put on your dancing shoes and jump aboard The Disco Express as the much loved London label unveils its hugely anticipated Best of 2024 compilation.

Pressed on special edition purple neon vinyl, this electrifying compilation showcases the wider breadth of the label's sound. Best of 2024 ventures into a multitude of styles: Soul, Disco, Italo and House, all made with cutting-edge production.

A brilliant fusion of established and emerging artists, the compilation boasts a stacked line up of talent; celebrating the vibrant spirit of The Disco Express whilst perfectly infusing modern twists, optimised for contemporary dance floors.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon...

For fans of Steve Vai, Richie Kotzen, Gary Hoey and Instrumental Guitar Rock! Slick riffs and a mighty fusion of melody and distortion make up the immersive rock sound and style that is The Chris Mahoney Project. Showcasing extensive experience and passion as a guitarist, the music delivers a series of energizing soundscapes, each one uniquely designed and structured so as to take listeners on an intensely uplifting journey

Mustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photosMustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photos

Dutch-Surinamese multi-instrumentalist Ronald Snijders announces the release of new album Penta via Night Dreamer. A jazz heavyweight who draws Latin, Brazilian and Surinamese influences into dialogue with the electric sound of Weather Report, Snijders released four albums between 1977 and 1983 that have become holy grails of deep, forward-thinking fusion.

With "Ululo", pianist and composer Koki Nakano immerses us in the depths of his emotions, carried by the striking voices of Jordy, WAYNE SNOW and Yael Naim. For his fourth album, Japanese pianist and composer Koki Nakano moves beyond the conceptual to reveal an intimate and visceral musical expression, a reflection of his deep emotions. Each piece conveys the desire and passion of a cry. The title "Ululo" (which translates to "Howl" or "Cry" in Latin) echoes a childhood memory of being in his father"s arms, yearning to touch the moon. This unfulfilled desire, reminiscent of a famous haiku by famous poet Issa Kobayashi, symbolizes his early realization of his limitations in the face of the vastness of the world and the seemingly unattainable. Koki reinvents himself with a unique fusion of piano and modern vocal collaborations. He is joined by UK rap sensation Jordy and the captivating voices of WAYNE SNOW and Yael Naim. He offers an avant-garde music style distinguished by its emotional simplicity and sonic depth. Beyond virtuosity, Koki explores his classical sensibilities by blending subtle ambient textures with his poignant and sophisticated melodies. While "Ululo" is a cry of frustration with melancholic tones, it is also romantic, filled with beauty, humor, and light.

Released in 1974, "Lotus" by Santana is a landmark live album showcasing the band's incredible fusion of rock, jazz, and Latin music. Recorded during their Japan tour, the album features Carlos Santana's signature guitar work and the band’s dynamic improvisations. "Lotus" captures performances from Tokyo, presenting a mix of Santana's classic hits and extended jams, including tracks like "Toussaint L'Overture" and "Oye Como Va." Known for its energetic solos and vibrant rhythms, the album highlights Santana’s ability to blend diverse musical influences into a cohesive, powerful sound. The 1974 release is praised for its high-quality sound and passionate performances, solidifying Santana’s reputation as a pioneering force in rock and Latin music. For fans and collectors, "Lotus" remains a quintessential representation of Santana’s live prowess and innovative spirit. Lotus is a limited edition of 1500 copies on translucent yellow coloured vinyl.

Born in Recife, Brazil, and currently residing in Lisbon, Sam Nóbrega is a singer-songwriter, multi-instrumentalist, arranger, and producer.Influenced by the Brazilian melodies his parents sang and listened to at home and on the radio, and driven by his love for Brazilian folk songs, street culture, and genres and movements like samba funk, forró, Ijexá, Manguebeat, and Bossa Nova, Sam embarked on a journey of musical self-discovery. In 2017, he took the stage with his first shows presenting his original music, performing at the Misturada festival in Florianópolis, southern Brazil, and at renowned venues in his hometown. However, it was in 2019 that Sam Nóbrega unveiled his debut single, "A Vida Vai e Volta," showcasing his instrumental prowess in a live video on top of a building. Subsequent releases like "Ruas Desertas," an independent release during the pandemic, demonstrated Sam's versatility.

His debut album "Ponta de Dois Lados," produced by Sam and Pedro Diniz, is slated for release by the British label Freestyle Records late November 2024. It is a rich sonic tapestry of Brazilian culture, blending traditional and popular elements with an indie and contemporary touch, creating an intriguing fusion of old and new sounds. Influences from João Donato, Marcos Valle, Milton Nascimento, Jorge Ben, Gilberto Gil, Novos Baianos, to the Manguebeat, Tropicalismo, and Vanguarda Paulista movements.

Introduction: Janeff the Poet is a dynamic artist whose spoken word performances transcend boundaries, blending socially conscious poetry with the soulful rhythms of jazz and R&B. As an attorney and college professor hailing from Southside Chicago, and an alumnus of a Historically Black College and University (HBCU), Janeff brings a unique perspective rooted in community, intellect, and cultural heritage to his craft. Concept: "Love & Liberation," Janeff's latest EP, features six new tracks that explore themes of love, empowerment, and the pursuit of social justice. Each song is a testament to Janeff's lyrical prowess and his commitment to storytelling that challenges, inspires, and provokes thought. Artistic Vision: Janeff's spoken word pieces, set against the backdrop of jazz and R&B beats, create a captivating fusion of poetry and music. His lyrics, crafted from personal experiences and academic insights, resonate deeply with audiences, offering introspective narratives that celebrate resilience and advocate for change. Release Date: Experience "Love & Liberation" as it is set to release on Date. Prepare for a transformative musical journey that celebrates the power of words and the liberation found in self-expression. Conclusion: Janeff the Poet invites you to join him on a journey through "Love & Liberation," where every word and melody serves as a testament to the beauty of love, the quest for justice, and the enduring spirit of community. Through his artistry, Janeff continues to inspire and empower, leaving an indelible mark on the cultural landscape and hearts of listeners worldwide.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

Das Album des kalifornischen Trompeters Luis Gasca von 1972 wurde oft als „vergessenes Santana-Album bezeichnet, da mehr als die Hälfte der klassischen Santana-Besetzung hier vertreten ist, einschließlich Stanley Clarke am Bass! Die furiose Mischung aus Jazz, Fusion und lateinamerikanischen Einflüssen übt bis heute hypnotische Wirkung aus.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Some of the treasures herein include, from Volume 5, a German gospel/modal jazz hybrid replete with flutes and vibes (and even a surprise gospel choir) reminding us not to 'speak when we should be silent' called "Ich Rede Wenn Ich Schweigen Sollte"; Indian jazz/rock fusion outfit Jazz Yatra Sextette's literal peace chant, "Shanti" led by Louis Banks (real name Dambar Bahadur Budaprithi), who worked with Embryo and John Maclaughlin; and Ron Wilson Trio's walking meditation and study on the beauty and rhythm of "Zimbabwe" in 3/4.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Volume 6 ululates with a rich flute and Fender Rhodes-rich microtonal fusion called "Cataracts" by Musica Orbis that even comes with some sparkling Afro-harping moments ala Dorothy Ashby; a 5/4 dreamscape conjured by the Fredric Rabold Crew called "Januschka" with enraptured wailing soprano; and a very interesting and likely heretofore unheard version of a tune that, in Dizzy's words, "... has withstood the vicissitudes of the contingent world and rocketed in an odyssey into the realm of the metaphysical...", A Night in Tunisia, with rich vocals and scatting.

High school band Kashmere Stage Band was formed in Texas by students from Kashmere High School's elite music division under the guidance of leader Conrad O. Johnson. They recorded plenty of albums but they only got sold locally and made in small numbers so now P-VIBE is embarking on a much-needed reissue run. Zero Point came in 1972, right in the middle of the band's activities which ran from the early 60s to the late 70s. It's a funky jazz fusion workout with great echoed vocals and fuzz-tone guitar.

High school band Kashmere Stage Band was formed in Texas by students from Kashmere High School's elite music division under the guidance of leader Conrad O. Johnson. They recorded plenty of albums but they only got sold locally and made in small numbers so now P-VIBE is embarking on a much-needed reissue run. Zero Point came in 1972, right in the middle of the band's activities which ran from the early 60s to the late 70s. It's a funky jazz fusion workout with great echoed vocals and fuzz-tone guitar.

Laolu, the acclaimed Swiss-Nigerian producer and DJ, is set to release his highly anticipated EP titled Try, marking a pivotal moment as the first release under his newly launched record label, Siembra. Known for his transformative remixes and immersive club tracks, Try captures Laolu's signature blend of evocative beats and precise production. Leading the EP is the single ‘You Don’t See Me’, a collaboration with South African vocalist Nomvula, whose tender voice intertwines seamlessly with Laolu’s production. The track embodies the emotive, atmospheric qualities that have earned Laolu a loyal following worldwide while reflecting his desire to collaborate with one of the great voices of the vibrant South African music scene. The title track ‘Try’ features the distinct vocals of SeeMeNot, a standout artist from Defected Records additionally, the EP includes ‘Creature of the Night’, a track powered by one of house music’s most iconic voices, Starving Yet Full.

"Try EP marks an important milestone as the first release on my new label, Siembra. This record represents the latest evolution of my sound, a fusion that draws from both my European roots and West African heritage, seamlessly blending electronic and live music. It’s a sound crafted with both instinct and precision, embodying my deep love for dance music and a newfound passion for songwriting," Laolu explains. With these powerful collaborations and Siembra's commitment to artistic freedom, Laolu continues to elevate his creative journey. The EP sets the tone for Siembra’s future releases, offering fans a fresh, innovative blend of cultural influences in club music that moves both the heart and the dancefloor.

Underground house heavyweight **Enzo Siragusa** is back with a fresh offering, his highly anticipated new EP *Odyssey*, set to drop on **fabric Originals** this month. This marks another standout release for Siragusa, coming hot on the heels of his recent contribution, "Last E," to the *fabric Selects V* compilation, which landed earlier in October.

*Odyssey* features three meticulously crafted tracks that showcase Siragusa’s signature fusion of classic rave elements, deep grooves, and stripped-back house aesthetics. The title track "Odyssey" is a masterclass in his deep production style, while "95 Variant" leans into the artists UK influences. Perhaps the standout cut is "Listen," a nod to the golden era of speed garage, effortlessly blending bass-driven energy with Siragusa’s refined touch.

The EP is a natural evolution of Siragusa’s sound, one that continues to command respect across the underground scene. Known for his ability to channel a range of UK rave influences while remaining firmly forward-thinking, Siragusa’s work is consistently pushing the boundaries of what modern house music can achieve.

In support of the release, Siragusa will be returning to fabric with Enzo Siragusa Invites, where he’ll take control of the decks alongside a curated selection of top-tier talent. The event is set to be a fitting celebration of the new EP and promises to be an essential date in the London clubbing calendar.

"In 1971, Dr Tree emerged as a highly innovative jazz-fusion ensemble from Auckland, formed by two of New Zealand's most seasoned session musicians, Frank Gibson Jr. and Murray McNabb - the pair had jammed together since grammar school. Drawing sizable crowds while working the Auckland circuit, the band caught the attention of EMI scout, Alan Galbraith, who wasted no time signing them up for an album. Galbraith, a trained musician and adventurous producer, brought in additional support from Julian Lee, an internationally acclaimed arranger and producer (who had recently returned to New Zealand after a decade Stateside on Frank Sinatra's insistence).

The album's an all-instrumental excursion into territory mapped out by the likes of Return To Forever, Weather Report and Tony Williams Lifetime - all acolytes of Miles Davis's late- 60s explorations. The session combines experimental studio techniques with blazing artistry, juxtapositioning trippy electronic textures and improvised jazz, creating a hypnotic kaleidoscope of sound."

Double LP featuring previously unreleased recordings and outtakes.
Restored and remastered at�Abbey Road Studios by Grammy award-winning engineer Sean Mage.
Heavyweight tip-on gatefold sleeve featuring archival band photography.
Restored and newly remastered at Abbey Road Studios.
Limited edition of 600 copies (300 in New Zealand, remaining 300 worldwide).

Santa Maria Electronics is a new label born in Italy. In the first EP, Giulio Gastaldello, the mind behind the project, tried to best express the key concepts of the label: eclecBcism, alchemy and freedom. These elements are not only present in the musical production, but can be also found in the party series by Santa Maria. The desire to merge various genres of electronic music to achieve a new sonic experience is a formula that has been happily welcomed.
We firmly believe that an artist's vision should always be as broad as possible, and this is why in our future releases, as in this one, we will consistently try to push ourself into having an open mind in order to achieve the best outcome for the listeners, besides the genre.
In more depth, side A of this Ep is opened by a DnB pitched down beat combined with an ethereal techno pad. A2 is instead a fusion of house and trancy elements.
Side B1 track, ‘Collapse’, consists of 2 basslines, synth lines, pads and stabs that come and go for the whole length of the track. B2, by contrast, is a more clubber tune with acid elements, groovy kick-sub combination and a catchy vocal.

2024 Repress

at mule musiq, we've focused on shining light on the many aspects of what electronic music can be, putting out house, techno and ambient releases on our main label, while releasing alternative-leaning dance music through our endless flight imprint. but with the launch of our new label, studio mule, we are stepping away from electronic club music for a bit. the label will not be tied to a specific genre, as we will instead focus on releasing any kind of music that we feel is a little bit different and interesting, but somehow make sense in this day and age. for our first batch of releases, we will be focusing on japanese music.
to be honest, i have been watching the recent rise of global interest in japanese music with a skeptical eye, not sure of how to feel about all these labels overseas licensing great albums that were birthed in our country. but then, i was told by somebody i greatly respect that i should do something similar with mule, and put our own spin on it, which sounded like a good idea to me. after a period of procrastination, i finally got around to doing it. we are starting things off with a compilation of japanese disco, boogie and soul music that we selected from a modern dance music perspective — the kind of songs that we feel would intrigue music fans across the world.
at first, i started seeking authentic-sounding disco that sound like it could have been recorded in the states, but after struggling to get licensing rights for many of those tracks, i started to wonder if that was really the direction we should be going in. when we start new labels or projects, we often come up with the title or artwork first, before deciding on the actual music. we came up with the title midnight in tokyo first, which dictated that we needed to find music that would be a perfect soundtrack to listen to at night in tokyo. we ended up compiling a selection of tracks that you could both listen to at home, and play in clubs at certain time slots. the compilation also ended up sounding a lot more pop than we initially imagined...
during the selection process, we did not care whether the tracks have been reissued already or not, and how rare the original copies of the records were. our sole purpose was to gather a handful of songs from across labels, major or otherwise, that we felt could be listened to for many years to come — even after this whole japanese music trend dies down. although we put together this release mainly for listeners outside of japan, the compilation can also be a chance for japanese music lovers to rediscover the greatness of domestic music, as we did during the process.
the compilation starts off with the afro disco classic 'mi mi africa' by harmonica player nobuo yagi, which was also included in the compilation mastercuts.
'silver top' is a jazzy fusion disco taken from composer, arranger and multi-instrumentalist nobuyuki shimizu's first album, which he released when he was 19. the track features singer epo, whom he worked with many times over the years as an arranger.
'samba night' is by vocalist keisuke yamamoto and his band piper, from their masterpiece second album summer breeze. a delightful city pop number that should appeal to tatsuro yamashita fans.
'akogareno sundown' is a japanese soul classic, sang by singer haruko kuwana (the sister of well-known musi-cian masahiro kuwana). recorded in hawaii and produced by mackey feary band, known for the soulful classic 'a million stars.'
'koiwa saiko (i'm in love)' is a mellow and groovy track by singer aru takamura, the great-grandchild of sculptor kouun takamura, whose son kotaro takamura is a famed poet and sculptor. can be thought of as japan's answer to cheryl lynn's 'got to be real.'
'what the magic is to try' is a cult electropop track by honma express, a project helmed by producer kanji honma. hailed as japan's trevor horn, he is also known as the producer of legendary techno pop band tpo.
'colored music' is a song by colored music, a duo of pianist ichiko hashimoto and her partner atsuo fujimoto, who have gone on tour with ymo. taken from colored music's sole album, the japanese rare groove treasure is a mesh of new wave, synth pop and jazz influences.
the dubby electronic new wave disco 'electric city' is a b side of pop idol group shohjo-tai's debut 12' single, but the girls aren't actually singing on it, making the instrumental one of japan's greatest '80s dance tracks.
'love is the competition' is a breezy disco jam by okinawa-born bilingual artist hitomi tohyama. featured on her album next door, the song's melody seems like an interpolation of the whispers' 'it's a love thing.'
taken from mariah project's diva yumi murata's first album, 'krishna' is a funky and soulful rockin' disco cut.reminiscent of chaka khan's 'i know you, i live you,' 'live hard, live free' is a song by jazz vocalist eri ohno who is known for her work with dj krush and singing on the soundtrack to anime rupin the third.
'rocket 88' is a melancholic disco number by singer minnie. though the track was released through sapporo's independent label paradise records, the superb production quality suggests otherwise.
closing out the 13-track compilation is japanese disco staple 'tokyo melody,' sang by half african and half swedish american singer shoody and backed by tetsuji hayashi's disco band the eastern gang.

Less than a year after Botanical Illustration takes patience and Skill EP, Giovanni Natalini aka CO-PILOT, comes back on Simona Faraone’s label, New Interplanetary Melodies, with the Green Machine album, which is its natural prosecution: inside it we also find the three tracks previously published by the same label in audio cassette format only (NIM001- MC).

Green Machine is a concept album, which takes up and develops the ecological issues already treated by the artist in his previous work, namely the increasingly tricky dichotomy between nature and machine and the harmful impact of humans on it.

The A side opens with the already published Botanical Illustration takes patience and Skill (A1), an 8 minutes suite in which the powerful Live drum breaks are perfectly combined with synths and vocal samples, transporting us to the tops of exotic mountains, to continue with the ecstatic Himawari (A2) that sounds like a “desert session” made on Mount Fuji, for a result of pure musical mysticism and finally, Mother Love Nature pt.1 (A3), a track that takes us back to more familiar territories, winking at the most experimental British trip hop of recent memory and Mother Love Nature pt.2 (A4) characterized by a background of modular synths and nature sounds effects that precede Giovanni’s powerful drums, underlining once again this perfect fusion of organic and synthesized sounds.

Side B opens with the psychedelic choruses of Dancing Like Fela (B1) supported by synthetic arpeggios and a frenetic drumline sounds like a breakbeat. Continuing along this side, we come to the unsettling use of vocal samples on the beautiful Halo (B2), the ethereal and danceable art-pop of Lost You - In Translation - (B3) to conclude with the evocative Playing the Zurna in Ulan Bator (B4), a track with a pressing rhythm and elegant arrangements that once again underlines Giovanni Natalini’s mastery in mixing sounds and suggestions that are apparently far away but that always find the right place.

Green Machine sounds like a valid attempt to finally find a “solid” balance between humans and nature, but it also demonstrates how the continuous mixing of sounds is the most effective way to escape from the homologation that is increasingly widespread in contemporary society.

Retro Soul entstand zu einem Zeitpunkt, als Soulmusik ihren Höhepunkt erreichte. Damals waren die Pioniere der 60er Jahre so weit gereift, dass sie die Erfahrungen des letzten Jahrzehnts nutzen konnten, um eine unglaubliche Fusion zu schaffen, die R&B, Gospel, Funk und Jazz mischte, sie mit anspruchsvollen Arrangements ausstattete, die es den Zuhörern ermöglichten, in ihrer Tiefe zu schwelgen und zu ihrem Beat zu tanzen. Die 12 Titel auf 'This Is Retro Soul' sind ein Einstieg in diese mythische Welt, die Bilder von Schlaghosen, Halston-Kleidern, Cadillacs und Frisuren mit Umfang von Raumhelmen heraufbeschwört. Doch die Musik folgt keinen simplen Klischees, egal ob sie von internationalen Superstars wie Isaac Hayes und Millie Jackson, oder Kulthelden wie George Jackson bzw. Darrow Fletcher stammt. Auch hier klassisch, schwarzes Vinyl!

Butcher Brown ist eine zeitgemäße Rückbesinnung auf die großen progressiven Jazzbands der 60er und 70er Jahre. Obwohl alle Mitglieder nach dem goldenen Zeitalter der Fusion Mitte der 70er Jahre geboren wurden, erinnert ihr moderner, vom Hip-Hop beeinflusster Funk an Weather Report, Return to Forever, die frühen Earth Wind and Fire und vielleicht auch an einen scharfen Hauch von Zappa. Wie bei diesen Bands entsteht der einheitliche Sound von ButcherBrown durch die ineinandergreifenden Talente der fünf Mitglieder, von denen jedes etwas Einzigartiges in den Mix einbringt.

kaoru inoue is a japanese veteran producer and dj since late 90’s.

he has been releasing from his own label “seeds and ground” and some other labels like
mule musiq,groovement.

the original release of this album was released in 2013 in only japan.

it’s a very own style mix of world music, field recording, ambient and electronic music.

the album is started by minimal gamelan ambient “malam”,the second track “selva” is minimal afro brazilian house which reminds us early luciano or villalobos.

third track “kamui fuchi” is electric jazz fusion house, fourth track “sphere” is like joan bibiloni in late 80’s.

on b side,”etenraku” is avant-garde tribal break beats,”she was in ecstasies”&”escape dub” are typical his style balearic slow house.

the album is closed with beautiful melancholic new age music “healing force”.

this album is a timeless masterpiece for us.

Eclectic Beats Music release number 7 is Fradinho’s “Tropicafrica EP”, inspired by Ghana’s Highlife music.
On the A-side, Fradinho delivers two original Broken Beat tracks: “Tropicafrica”, which also names the EP, is a journey into a slower syncopated Highlife guitar track, with a lovely progressive harmony and guitar picks. “Highlife” has a more upbeat atmosphere, still with the Highlife guitars on a happy vibe and a faster beat structure.
On the B-side, there’s 2 distinct quality remixes:
Sun 793 delivers a journey into a darker, futuristic, yet contemplating sonic bruk experience, with lush keys contrasting with the overall deep feeling of their “Tropicafrica” remix.
Mr. Bird also remixes the track “Tropicafrica”, in a cross-genre fusion between house and broken beat, adding some vocal elements and brass, that results in this uplifting remix.

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

Die Schachtel Records is proud to present Ifigenia/Oreste, a new vinyl LP by celebrated Italian composer Paolo Spaccamonti. This album marks the seventh installment in the label's renowned Decay Music series, which has become synonymous with deeply emotive, abstract, and electronic/ambient music, which has so fare featured works of such names as Stefano Pilia, Giovanni di Domenico, Sandro Mussida, Vértice, Damavand and Claudio Rocchetti. Aim of the series is composing a fascinating scenario of the most interesting names of experimental musicians – mainly of Italian origins - working at the intersection of sound and music, abstract and visual, storytelling and abstract composition.

Paolo Spaccamonti has long been a significant figure in the contemporary music scene, known for his ability to bridge the worlds of instrumental, electronic, and experimental music. His most recent release, Nel Torbido (2023), is a testament to his ever-evolving artistry. With Nel Torbido, Spaccamonti delivered a haunting and immersive sonic experience that oscillates between tension and release, bringing together moody soundscapes, unsettling textures, and his signature understated guitar work. His exploration of silence, noise, and melodic tension has earned him recognition as one of the most unique voices in modern composition.

Composed by Spaccamonti, Ifigenia/Oreste is the original score for the theatrical production IFIGENIA / ORESTE, directed by Valerio Binasco and produced by Teatro Stabile di Torino. The music, both haunting and subtle, mirrors the play's minimalist and intense staging, immersing listeners in an evocative soundscape that blends ambient textures with guitar-driven melodies. The music was recorded and processed by Filippo Conti, with additional production and mixing by Stefano Pilia. The vinyl’s design has been crafted by Bruno Stucchi of Dinamomilano, making this release a fusion of sound, visual, staging and cultural reference.

In reflecting on his collaboration with director Valerio Binasco, Spaccamonti said: "From the first meeting with Valerio, it was clear that we aimed to create a production stripped of any unnecessary stylistic embellishments. Ifigenia and Oreste had to be severe, devoid of visual distractions, simple yet extreme in its own way. I sought to follow the same path with the music. The foundation is always the guitar, but I wanted to avoid overloading it, either harmonically or sonically. Sometimes, I treated it like a fragmented background noise; other times, I ventured into more aggressive, melancholic, or even melodic terrains, but always in a very human way. The text demanded an atmosphere that lived in the alternation of silence and rarefaction, like in the films of Bresson and Lanthimos. Short scenes interrupted by moments of darkness. In a marked rhythm, a suspense constantly suggesting the advance toward death, announced from the very first scene. Hence, the emphasis I wanted to place on silence through the music, even within individual tracks. Long, granular tails, like the (few) lights on stage."

One of the Most Exhilarating Live Albums Ever Released: Santana’s Lotus Documents 1973 Performances Distinguished by Passionate Soulfulness, Chemistry, and Inventiveness

Mobile Fidelity’s 180g 33RPM 3LP Set Features Reference Sound and Deluxe Trifold Packaging Faithful to That of the Original Japanese Import: Strictly Limited to 5,000 Numbered Copies, Includes Four Photo Inserts and Two Fold-Out Posters

The bizarre legacy of Lotus transcends its status as both the definitive onstage document of Santana’s career and one of the most spectacular live albums ever released. Originally issued in 1974, the triple LP contains exhilarating performances of the band recorded at two shows in early July 1973 at the 2400-seat Osaka Kosei Nenkin Kaikan concert hall. It bears witness to the eight-piece collective playing with a chemistry, inventiveness, cohesiveness, and soulfulness no other Santana lineup would ever surpass. Featuring seven previously unreleased tracks as well as remarkable renditions of material from Santana’s first four albums and the Carlos SantanaJohn McLaughlin collaboration Love Devotion Surrender, Lotus simultaneously suggests and inspires, dreams and delivers.

Transferred by original engineer Tomoo Suzuki, strictly limited to 3,000 numbered copies, and housed in deluxe trifold packaging faithful to that of the original pressing, Lotus benefits from reference audiophile treatment on Mobile Fidelity’s 180g 3LP set. Featuring rich tones, smooth dynamics, excellent separation, deep soundstages, and involving presence, this reissue pays tribute to both the virtuosic lineup and the magnetic fusion of Latin- and Afro-Cuban-influenced jazz, rock, psychedelia, R&B, and blues. The complexity of the spiritual passages, demands of the crescendos, delicacy of the calm transitions, electricity of the solos: everything is rendered with superb balance and free of the harshness, compression, and fatiguing peaks that would otherwise distract from the presentations at hand. Black magic, indeed.

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a silky soulful flow. A wild fusion of garage punk, sixties rock’n roll and a touch of RnB soul, with its own gentle smokiness. Combining a broad spectrum of influences - from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance! Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

Celebrating dance music’s roots in Africa, global music superstars Soweto Gospel Choir and renowned Australian DJ Groove Terminator team up with Grammy-winning producer Latroit to present ‘History of House,’ a global reimagination of the iconic dance music classics that defined a generation.

Featuring exquisite multilingual vocal performances and collaborations with some of Southern Africa's most promising emerging artists, "History of House" stands as a vibrant celebration of music and culture. This album transcends boundaries, effortlessly connecting diverse cultures across generations with an authentic fusion of global beats, Afro house, Amapiano, and house music.

"Beneath the Mask" marks a return to the more commercially viable jazz-funk of the Chick Corea Elektric Band’s earlier albums, and marks the end of the first stage in the band’s history, which began five years earlier with the group’s self-titled debut.

Energy meets craft on this superlative outing, which finds the five virtuoso musicians (Chick Corea, drummer Dave Weckl, bassist John Patitucci, guitarist Frank Gamble, and saxophonist Eric Marienthal) engaging in a highly sophisticated yet accessible set of music.

Massive in the scale of the influences it contains, the album travels from the heavy grooving funk-fusion of the title track “Beneath the Mask,” to the lively West African township jive of “One of Us Over 40.” to the mellow smooth jazz of “A Wave Goodbye,” and the grandiose ‘70s style prog-rock/fusion of “Charged Particles.”

Originally released on GRP Records in 1991, the album reflects the innovative spirit of The Elektric Band, pushing boundaries and creating a unique sonic landscape that captivates listeners.

The "Sula Bassana" project marks the fusion of two distinct but complementary musical worlds: that of 20syl, electro-hip hop producer and DJ, and that of Christophe Panzani, versatile jazz musician. The album is an ode to contemplation, an immobile voyage embodied by the Gannet, the symbol of their creativity as they fly across styles and soundscapes.

The duo affirm their complicity with the eponymous track "Sula Bassana", where 20syl's sophisticated electro production blends with Christophe Panzani's melodious instruments. The track was accompanied on its release by a remarkable interactive video that poetically retraces the journey of a gannet.

The album also features a number of enriching collaborations. On "Dreams", they invite Yael Naim with her haunting voice and poignant harmonies. "Nuevo Mundo" invites La Chica to take us into a vibrant and eclectic atmosphere, fusing electro rhythms with Latin influences. Finally, "Playtime" features jazz pianist Eric Legnini, whose subtle chords and virtuoso improvisation infuse the album with a refined energy.

"Sula Bassana" is a space where the duo asserts itself with confidence, a rich and varied musical exploration, transcending the boundaries of genres to offer a unique and captivating sonic experience.

Spyro Gyra, a jazz fusion band from Buffalo, NY formed in 1974 and created the framework for contemporary jazz in the 80s and 90s. Celebrating this milestone 50th anniversary of the band's formation, comes Jubilee, a new collection featuring 16 songs that capture the band's ever-expanding palette in its first decade of recording (1978-87) and includes fan favorites "Shaker Song", "Morning Dance" which have had chart success in multiple countries plus tracks the band continues to perform across the globe.

The new LP and CD contains never before seen photos from the band's early days and more recent world tours, liner notes from veteran music journalist Jonathan Widran and a newly recorded song, "50/50" - a riff on the title of the band's 1997 release 20/20, which marked 20 years and 20 albums.

Fresh rhythms. Gorgeous melodies. A powerful yet full touch that pleasantly stirs the emotions of the listener. The origins of the great pianist Masaru Imada are here.

Masaru Imada has been active as a professional since the 1950s and now has a career spanning 70 years. He has been at the forefront of music from hard bop to fusion, and has released over 30 titles as a leader. He is one of Japan's leading pianists in both name and reality. His powerful yet full touch creates a sound that pleasantly stirs the emotions of the listener. His first album, "Maki," can be said to be the origin of this. The performances by the trio or one horn quartet are so fresh and beautiful. The carefully woven "Autumn Leaves," the dynamic "On Green Dolphin Street," the ambitious "Gad," the ballad "Maki" dedicated to his beloved daughter, and the hot and cool "Sea Horse."

From standards to originals, his talent is fully displayed throughout the album. Released as part of the Victor "Japanese Jazz" series, this is an undoubted masterpiece. - Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Transparent Blue Vinyl. After years of preparation, Marcus Drake emerges from the basement networks of the resistance underground to claim the first save point along his quest ahead. Welcome to Save Point 1, a universe where popular forms of the past collide at warp speed with Marcus's mutant inspirations to produce sounds and genres hitherto unknown. Save Point 1 is a visionary and singular Debut work of Avant Rock & Pop Alchemy, blown apart and reassembled under the laws of Quantum Musical Mechanics. Written, Produced & Performed by Marcus Drake, the album eludes classification, but sounds like a sci-fi fusion of musical DNA from Nine Inch Nails, Prefab Sprout, Nobuo Uematsu (the Final Fantasy video game composer), Animal Collective, Prince, Mr. Bungle, Liars, The Mars Volta, and Lil Ugly Mane. The album marks the first release under Drake's own name, and the latest since his 2017 release as Anthony Fremont's Garden Solutions_his idiosyncratic side-project with Water From Your Eyes' Nate Amos, Options' Seth Engel, and NNAMDI. He has also since scored for film and video, including the Adult Swim short Thoron the Conqueror. Save Point 1 isn't just a new beginning, but a reintroduction to Marcus Drake the artist and composer. Drake experimented with new techniques and approaches for many years while recording Save Point 1, a process that transformed his sound, voice, and artistic identity. The resulting oeuvre is giddy and dreamy, an Olympic-height diving board from which to descend through indie rock and videogame soundtracks, thrilling math-rock riffs that turn experimental, and synths that glow in rainbow hues. Just turn to the glitchpop of "Heaven's in the Rot" or the slow-motion acoustic glitter that is "Dragon It Out" to hear it in motion. And note the two-part "Haunted" suite that funnels his unpredictable experimentation into darker, weirder directions.

Robert Glasper’s holiday album In December was released last year as an Apple Music exclusive. We’re now able offer it widely available to physical retail and all DSPs!



Is there anything to be done with carols like “God Rest Ye Merry Gentlemen” and “Joy to the World” that hasn’t been done in the past 300 years? If there is, Grammy-winning pianist, composer, and producer Robert Glasper is the kind of artist to do it. “I like covering songs that people know well,” Glasper tells Apple Music. “That’s what I’ve done throughout my whole career.” It’s true: As a jazz pianist, he’s obviously learned his way around making classics his own, whether they were written by Mongo Santamaría or Kurt Cobain. But, he says, “The biggest challenge in making a holiday album was trying to do it in a way that feels festive but at the same time feels real and not corny.”



He succeeds on both fronts on In December, his holiday album that mixes classic carols with a set of originals, and which was recorded in Spatial Audio. Part of what keeps it credible is the fact that Glasper’s hiphop/R&B/jazz fusion is done on a compositional level instead of just a cosmetic one (no collages of sampled sax solos and drum loops here). The covers reveal a lot about his musical worldview: Sung by Tony winner Cynthia Erivo (The Color Purple), “God Rest Ye Merry Gentlemen” is turned into dark, airy neo-soul, while “Joy to the World”—sung by Alex Isley—feels like a Stevie Wonder ballad. But the originals reveal even more. “The intention for this album was less about Christmas songs and more about songs that feel good during the holidays,” Glasper says. “I stayed away from thinking too much about Christmas and its traditional lingo, and concentrated on real things people go through during the holiday season.”

Erste Gesamtausgabe als Deluxeausgabe: 4xLPs in einem geprägten Gatefold-Cover, gestaltet von Stephen O'Malley, mit einem 30 x 90 cm großen Poster. "Divine Comedie" ist ein Opus Magnum, geschaffen von zwei der führenden Komponisten ihrer Zeit, mit einem musikalischen Anspruch, der Dantes Gedicht und seiner visuellen Interpretation durch Sandro Botticelli oder Gustave Doré gleicht. Lange Zeit wurde dieses Triptychon als ein zweiseitiges Werk präsentiert, in dem Bernard Parmegianis Hölle und François Bayles Fegefeuer aufeinander reagierten und sich gegenseitig erweiterten. Michel Hermons Stimme führt durch die Vorstellungskraft des Zuhörers. Erstmals wird "Paradise", ein gemischtes Stück, das gemeinsam komponiert und live aufgeführt wurde, auf Tonträger veröffentlicht. Tatsächlich wird "Paradise" fünfzig Jahre nach seiner Uraufführung für unsere Ohren enthüllt und wertet damit die erste Gesamtausgabe von "Divine Comedie" auf. - François J. Bonnet, Paris, 2023

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.

The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.

"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.

"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.

Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.

Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.

The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.

Rund zwei Jahre nahm Brenk sich Zeit, an "Midnite Ride III" zu feilen und die richtigen Soundbilder für seine musikalische Vision zu finden. Dabei legte er viel Wert auf verspielte Details und einen zeitlosen Sound, der sowohl den Late Night Vibe der ersten beiden Vorgänger fortsetzt als auch Brenks aktuellen Mindset in puncto Soundästhetik widerspiegelt. Auf "Midnite Ride III" fusionieren analoge Synthesizer aus Brenks berüchtigter Vintage-Sammlung mit perfekt platzierten Voice-Samples, die zur Trademark des Midnite Ride Sounds gehören. Als einer der Urväter der Phonk-Bewegung reichert Brenk seine Beats auch diesmal mit der richtigen Dosis aus Phonk-Elementen an und kreiert aus alten und neuen musikalischen Einflüssen ein weiteres Mal einen moody Soundcocktail, der ab der ersten Sekunde in seinen Bann zieht.
Begleitend zum Album-Release wird eine Dokumentation erscheinen, die die Entstehung und die Hintergründe von Brenk Sinatras Midnite Ride Universums beleuchten wird.

Roy Ayers' first album on the Polydor label inaugurates his music's evolution away from the more traditional jazz of his earlier Atlantic LPs toward the infectious, funk-inspired fusion. Although Ubiquity maintains one foot in Ayers' hard bop origins, it favors soulful grooves and sun-kissed textures that flirt openly with commercial tastes. AllMusic reviewer Jason Ankeny rated the album with **** out of five stars, stating that “Several cuts feature the male/female vocals that would become a hallmark of subsequent works by the same group, while mid-tempo instrumentals like ‘Pretty Brown Skin’ and ‘The Painted Desert’ feature evocatively cinematic arrangements and intriguing solos that unfurl like psychedelic freak flags. The crack supporting cast including bassist John Williams, keyboardist Harry Whitaker, and drummer Alphonso Mouzon proves equally effective on high-energy numbers like ‘Can You Dig It’ and the Nat Adderley-penned ‘Hummin' in the Sun,’ which point the way to the mind-expanding funk Ayers would perfect across the sessions to follow. An outstanding record.”

In 1997 a CD compilation called Calambre Techno was released in Spain which included a track called Utopia. Its producers were two Spanish brothers who had been making electronic music since 1991 under the name INTRO. The track of the compilation was a remix of the original included in the Ep Intro - @Utopia from 1994. @UtopiaRemix is a simple but perfect Techno-Trance anthem, Retro-Psychedelic but futuristic, one of those timeless tracks that always sound original despite its 30 years. Now UFC is proud to re-issue this techno-trance gem on vinyl as its eighth release accompanied by remixes from current producers of different visions.

About the remixes; The duo The MFA give us their '94 On The Floor Remix', a perfect “hit” to hear at dawn where they perfectly combine IDM, Indie-House and Experimentalism. Spanish producer Promising/Youngster presents 'Electric Shock Remix', a titanic version of the original remix where powerful Electro rhythms collide with Experimental and Futuristic IDM.

In the case of Brassica we left the way free to experiment with the original remix and he gives us his 'Psytalo Remix', a perfect fusion of Techno, Breaks and Psychedelia, originality in its purest form as this producer has accustomed us to in all his productions. To close the Ep, we find 'FutureCosmicalAscension Mix' by R.I.P. Bestia, truly a different version that is difficult to include in a specific style where the main melody is progressively guided towards a state of euphoria.

Original Track Produced by Intro: Francisco & Nacho Sotomayor. Liscensed with permission of Absolute Ambient (ES) 1994

Adam F drew inspiration from legendary artists like Lalo Shiffrin, Stevie Wonder, and Quincy Jones, as well as the vibrant Funk era for his monumental track.
“With these influences I set out to create something truly unique.” Looking back on the now towering legacy of the track Adam states: “It's incredibly humbling to think that my work on Brand New Funk sparked a fusion movement within the jungle/drum and bass scene.
Over the years numerous bootlegs of my tracks emerged, showcasing the impact it’s had. However, I'm thrilled to announce that the two new releases we're unveiling are official collaborations - a joint effort between myself and Bladerunner, accompanied by the exceptional skills of another talented mixer who prefers to remain anonymous.
For these tracks, I had the pleasure of incorporating live funk bass and horns, which further elevated the energy and groove. It has been an incredible path with many a twist and turn, with club performances that have captivated audiences for over a year now. I am truly grateful for the support and the opportunity to share my passion with all of you."

Adam F drew inspiration from legendary artists like Lalo Shiffrin, Stevie Wonder, and Quincy Jones, as well as the vibrant Funk era for his monumental track.
“With these influences I set out to create something truly unique.” Looking back on the now towering legacy of the track Adam states: “It's incredibly humbling to think that my work on Brand New Funk sparked a fusion movement within the jungle/drum and bass scene.
Over the years numerous bootlegs of my tracks emerged, showcasing the impact it’s had. However, I'm thrilled to announce that the two new releases we're unveiling are official collaborations - a joint effort between myself and Bladerunner, accompanied by the exceptional skills of another talented mixer who prefers to remain anonymous.
For these tracks, I had the pleasure of incorporating live funk bass and horns, which further elevated the energy and groove. It has been an incredible path with many a twist and turn, with club performances that have captivated audiences for over a year now. I am truly grateful for the support and the opportunity to share my passion with all of you."

The full-length debut by Detroit duo Giovanna Lenski and Christian Molik aka Clinic Stars both refines and redefines their pitch-perfect fusion of downer-pop balladry and featherweight shoegaze: Only Hinting.

Recorded and produced at the band’s home studio, the album was crafted across 2022 and 2023, patiently layering FX and spatial depths to give each song a swirling, subconscious undertow. From the strummed whirlpool of “I Am The Dancer” to the gated reverb of “Remain” to the greyscale guitar reverie of “Isn’t It,” the record aches as much as moves, daydreaming of escape and transcendence.

Joeski returns to Crosstown Rebels with ‘Music Is My Home’, featuring the vocals of Troy Dillard. The release, landing on 25th October 2024, features a remix by label regular Made By Pete alongside a ‘Dub’ mix.

A pioneering figure in the house music scene for over two decades, Joeski continues to show his mastery in blending rhythmic grooves with emotional depth. Known for his signature fusion of classic house with Afro and Latin influences, the Brooklyn-born, Queens-raised DJ/producer and Maya label boss has maintained his influential presence globally, with releases on an endless list of leading labels. Here, he delivers once again with an impressive return to Damian Lazarus’ Crosstown Rebels imprint with ‘Music Is My Home’ —a track that merges rhythmic beats with regular collaborator Troy Dillard’s emotive vocals.

‘Music Is My Home’ is a sonic journey, paying homage to the roots of house while showcasing Joeski's seasoned touch. Led by Dillard’s impassioned vocals, the track’s soulful rhythm, deep bassline, and atmospheric melodies make it a standout and emotive slice of modern house music. Label favourite Made By Pete steps up on remix duties, with the UK talent delivering an expansive production aimed at the dancefloor with wonky grooves and swirling synths, perfect for after-hour moments. Rounding out the release is the ‘Dub’ mix, a stripped-back version that lets the groove speak for itself.

INNER REVOLUTION (EP): A Mystical Journey Towards Freedom

The Intergalactic Civilization is a hybrid, symbiotic entity blending technology and biology, from which no race in the cosmos is exempt. We have reached an advanced stage of development where the manifestation and growth of all life are under the control and management of artificial intelligence. This techno-symbiotic fusion explores the boundaries of its own existence, striving to break free from the constraints of natural laws and technology.

“INNER REVOLUTION” represents Calagad 13’s most personal work to date, showcasing a cinematic sound where each track unfolds as an act or episode in a narrative akin to a sci-fi film. A meticulously crafted transparent vinyl edition, intended for collectors and enthusiasts of the genre, is limited to just 150 copies.

„Cherry Blossom Baby“, Shigetos erstes Album seit 2017, entspringt einem kollektiven Tauwetter, ist ehrgeizig, kollaborativ und vollendet. Der in Detroit lebende, japanisch-amerikanische Musiker, DJ, Mitbegründer des Portage Garage Sounds-Labels und langjährige Ghostly International-Künstler übernimmt die Rolle des Produzenten und Komponisten. Der kühne und absichtsvoll kultivierte Sound ist eine Hommage an die Traditionen von Electronic Music, Jazz, R&B und Hip-Hop - eine Fusion, die zu seinem Markenzeichen geworden ist und heute lebendiger denn je. Zach Saginaw und eine Gruppe von Gästen und Musikern präsentieren eine Momentaufnahme, eine Feier der Selbstliebe und einen Ausdruck von Vitalität, der eindeutig in Detroit verwurzelt und von der kulturellen Geschichte seiner Familie geprägt ist. Für „Cherry Blossom Baby“ ließ sich Saginaw von den Kirschbäumen inspirieren lässt, die jeden Frühling in Hiroshima blühen - ein bleibendes Bild für Hoffnung, Widerstandsfähigkeit und Erneuerung. „Ich bin ein Kirschblütenbaby“, sagt er. „Wir alle sind Kirschblütenbabys, wir alle sind unverwüstlich, wir alle wachsen, und wir alle werden es auch weiterhin tun.“ Saginaw war auf der Suche, eine schwelende Selbstbeobachtung, die in den letzten Jahren zum Vorschein kam, als das Nachtleben pausierte und er begann, die Idee von Shigeto, dem Performer und der festen Größe in Michigan, zu hinterfragen. „Meine Identität ist etwas, mit dem ich schon immer zu kämpfen hatte: Ich werde weder als Japaner noch als Weißer angesehen. Ich glaube, Shigeto war für mich eine Möglichkeit, diese Identität zu haben, mir eine zu schaffen, an der ich mich festhalten konnte, und plötzlich gab es sie nicht mehr.“ Diese Erkenntnis veranlasste ihn, an sich selbst zu arbeiten, zu seinem Handwerk und seiner Gemeinschaft zurückzukehren, und legte damit den Grundstein für ein Album, das sich aus der Asche im übertragenen Sinne neu erhebt. Das bekräftigte Selbstbewusstsein, der Schwung und die Reifung zeigen sich darin, dass Saginaw sich hier als Songwriter und Produzent positioniert, der Ideen mit den besten Musikern Detroits arrangiert, eine physische Manifestation seiner WDET 101.9FM Radio-Show, die „zukunftsweisende Musik aus der Detroiter Diaspora“ hervorhebt. Jeder Track ist eine Kollaboration, sei es mit einem Sänger oder mehreren Instrumentalisten, die in seinen Portage Garage Studio Sessions geschmiedet wurde. Die Produktion und der Mix sind voll und zurückhaltend und verzichten auf moderne Kompression zugunsten einer geräumigeren Dynamik - eine Anspielung auf Psych- und Jazz-Platten aus den 70er und 80er Jahren.

„Cherry Blossom Baby“, Shigetos erstes Album seit 2017, entspringt einem kollektiven Tauwetter, ist ehrgeizig, kollaborativ und vollendet. Der in Detroit lebende, japanisch-amerikanische Musiker, DJ, Mitbegründer des Portage Garage Sounds-Labels und langjährige Ghostly International-Künstler übernimmt die Rolle des Produzenten und Komponisten. Der kühne und absichtsvoll kultivierte Sound ist eine Hommage an die Traditionen von Electronic Music, Jazz, R&B und Hip-Hop - eine Fusion, die zu seinem Markenzeichen geworden ist und heute lebendiger denn je. Zach Saginaw und eine Gruppe von Gästen und Musikern präsentieren eine Momentaufnahme, eine Feier der Selbstliebe und einen Ausdruck von Vitalität, der eindeutig in Detroit verwurzelt und von der kulturellen Geschichte seiner Familie geprägt ist. Für „Cherry Blossom Baby“ ließ sich Saginaw von den Kirschbäumen inspirieren lässt, die jeden Frühling in Hiroshima blühen - ein bleibendes Bild für Hoffnung, Widerstandsfähigkeit und Erneuerung. „Ich bin ein Kirschblütenbaby“, sagt er. „Wir alle sind Kirschblütenbabys, wir alle sind unverwüstlich, wir alle wachsen, und wir alle werden es auch weiterhin tun.“ Saginaw war auf der Suche, eine schwelende Selbstbeobachtung, die in den letzten Jahren zum Vorschein kam, als das Nachtleben pausierte und er begann, die Idee von Shigeto, dem Performer und der festen Größe in Michigan, zu hinterfragen. „Meine Identität ist etwas, mit dem ich schon immer zu kämpfen hatte: Ich werde weder als Japaner noch als Weißer angesehen. Ich glaube, Shigeto war für mich eine Möglichkeit, diese Identität zu haben, mir eine zu schaffen, an der ich mich festhalten konnte, und plötzlich gab es sie nicht mehr.“ Diese Erkenntnis veranlasste ihn, an sich selbst zu arbeiten, zu seinem Handwerk und seiner Gemeinschaft zurückzukehren, und legte damit den Grundstein für ein Album, das sich aus der Asche im übertragenen Sinne neu erhebt. Das bekräftigte Selbstbewusstsein, der Schwung und die Reifung zeigen sich darin, dass Saginaw sich hier als Songwriter und Produzent positioniert, der Ideen mit den besten Musikern Detroits arrangiert, eine physische Manifestation seiner WDET 101.9FM Radio-Show, die „zukunftsweisende Musik aus der Detroiter Diaspora“ hervorhebt. Jeder Track ist eine Kollaboration, sei es mit einem Sänger oder mehreren Instrumentalisten, die in seinen Portage Garage Studio Sessions geschmiedet wurde. Die Produktion und der Mix sind voll und zurückhaltend und verzichten auf moderne Kompression zugunsten einer geräumigeren Dynamik - eine Anspielung auf Psych- und Jazz-Platten aus den 70er und 80er Jahren.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

024 jährt sich Harmonias legendäres Debütalbum "Musik von Harmonia" zum 50. Mal. Aus diesem Anlass erscheint eine limitierte Jubiläumsausgabe mit dem Originalalbum sowie einer zweiten Vinyl mit bisher unveröffentlichten Überarbeitungen von Matthew Herbert, James Holden, David Pajo, Kaleema, Vittoria Maccabruni, Dextro, Marta Salogni, u.a. Schwarzes 180g Doppelvinyl im Gatefold.

Das 1973 von Neu!- und Cluster-Mitgliedern gegründete Trio markierte eine Wende im Krautrock: Weg von der Fusionitis, weg vom überambitionierten Gegniedel, weg von der Ironie, die allzu oft nur lausige Fähigkeiten kaschierte. Harmonia spielte seine impressionistischen Skizzen mit minimalistischem Gestus. Kein Text trübte den Sound, alles war repetitiv, friedlich atmosphärisch und irgendwie LoFi. Brian Eno hörte sich so tief rein in diese kitschlosen Versponnenheiten, dass er den Ambient erfinden konnte. Heute, nach 31 Jahren, klingt das etwas unfertig, vor allem die Ein- und Ausstiege, doch der naive Charme der Musik blieb erhalten. Das Album bildet den Auftakt einer Reihe von remasterten Neuauflagen legendärer Brain-Platten. Darunter auch "II" von Cluster. Hat Eno natürlich auch intensiv gehört.

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

Pedro Bertho, following the positive reception of his debut
album Mêlé, which features notable tracks like "Tigueretá"
and "Jour 4"—both frequently highlighted in Boiler Rooms
and sets around—has launched his own label, Chez Pedro.
Dedicated to consistently releasing new music, the label
plans to unveil monthly tracks, showcasing Bertho's ongoing
creative drive and deep passion for music without
distinctions of genre. His latest offering, Starlit Craves,
compiles tracks curated over the past two years. Previously
unreleased, these tunes have been meticulously crafted for
the dance ­oor. Each track on this EP re­ects Pedro Bertho's
distinct style and artistic vision, guiding listeners through an
immersive and exhilarating musical journey. Let Me Tell You:
Infused with electro vibes and in­uenced by Detroit’s rich
musical legacy, this track blends intricate rhythms with
soulful melodies, delivering a captivating sonic experience.
Blue Hot Monday: A hypnotic techno odyssey where
pulsating beats merge with deep bass grooves, creating an
enveloping atmosphere that lingers long after the music
ends. Shaved: A dynamic fusion of house and techno,
pulsing with rhythmic intensity and layered textures, inviting
listeners on a groove-driven exploration. Rouya: Radiant
melodies and hypnotic rhythms transport listeners to a sunlit
realm, intertwining uplifting harmonies with intricate sonic
nuances seamlessly. Have You Ever Played in Abidjan:
Exploring percussive intricacies and dub-infused textures,
this track offers a captivating blend of rhythmic diversity andatmospheric depth, evoking vivid imagery and immersive
storytelling.

The sea has long been central to Japanese culture, symbolizing both sustenance and spiritual depth. Charles A.D.'s Deep Diver draws inspiration from this, channeling the ancient traditions of diving and fishing into his music. Historically, the sea has influenced everything from Shinto rituals to the livelihoods of coastal communities. In Deep Diver, this reverence flows through aquatic soundscapes, where rhythmic waves of 90s house and Detroit techno meet Japanese minimal production techniques, New Age and Pacific Jazz. Like the tides, the album ebbs and flows, creating a serene yet dynamic homage to the timeless connection between Japan and the sea.
The opening track 'Deep Diver' plunges into the depths, its abstract sound design capturing the sensation of deep-sea propulsion. Rhythmic bubbles pulse gently alongside slow-moving chords, creating an otherworldly atmosphere. The textures are lush yet restrained, setting a tranquil stage that pulls the listener into a submerged world. 'Underwater Ruins' builds on this aquatic theme, introducing rhythmic layers and bass-heavy notes reminiscent of mid-90s Japanese ambient techno. The smooth, melodic flow nods to pioneers like Mr.YT and Susumu Yokota, while subtly incorporating the Detroit techno influence through soulful, deep basslines.
The track feels like a fusion of ambient and techno, balancing serene tones with a rolling groove, emblematic of Japanese techno soul. As the album progresses into 'Bubble Ring', it becomes clear that Charles A.D. is a master of minimalism. The production is timeless, leaning
on analog techniques where echo-drenched chords and carefully layered soundscapes take on an addictive, hypnotic quality. The simplicity of the composition is deceptive, as each element carries weight, drawing the listener deeper into the rhythm and space between the notes.
'Merperson' is where organic rhythms truly come into play. Charles A.D. gently evolves the patterns, allowing each percussive hit to flow naturally into the next. Soothing melodies emerge from within the track’s structure, eventually reaching an emotional peak without ever feeling forced. The organic nature of the arrangement creates an effortless progression that feels deeply connected to the natural movement of water.Starting the second half with 'Deep Exploration', the theme of underwater excursions becomes even more pronounced. Light, steady drumming anchors the track, allowing the melodic layers
to develop gradually. It unfolds with a calm, measured pace, before ending softly, almost as if the sounds are drifting off into the oceanic depths. 'Diffuse Reflection' stands out as the most dub house-influenced on the album, with rolling rhythms and hypnotic elements reminiscent of Maurizio's deep, pulsing sound. Yet here, the production feels submerged, with aquatic effects swirling around the rhythmic core, blending dub house with a fluid, oceanic touch. 'Traitors' delves even deeper into dub-inspired territory. Deep, resonant bass hits combine with wooden drums, while static-like sounds evoke the image of a radio tuning through static to find clarity.
Chords shimmer briefly before fading back into the liquid depths, evoking the ebb and flow of the tide. The final track on Deep Diver 'Levitation', is a fitting conclusion, as the rhythms merge and overlap like waves gently lapping the shore. The minimalistic arrangement allows each element to blend effortlessly into the next, creating a sense of unity and closure. The sounds move with the gentle grace of water, ending the album in a way that feels both complete and
open-ended, like the infinite motion of the sea.

A hard rock mash up - Bandleader Paul Ngozi's split album with his drummer and co-vocalist Chrissy Zebby Tembo. The set includes an oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations.

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” - New York Times

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere. Zamrock came from a nation's youth carrying forth the momentum of a political and social revolution with a musical revolution that maintained the fiery power of early rock - in the mid-to late-70s. From that era, Zamrockís energy is matched only by the punk and hip hop scenes of England and America.

LIMITED POSTER EDITION (inclusive stickers)

With 'The Electro Guilde III EP' Zodiak Commune Records once again presents a selection of well-known and label-recurring electro-acid producers who take you on their various adventurous musical journeys.

'Collateral Funk' is a one shot live recording funky acid Electro track by Acidulant and inspired by the likes of Dynamix II

'We Will Survive' by Dima Gastroler is a fantasy about robots fighting for their rights in the future world of global robotisation. Dynamic electro and psychedelic pads make it sound like that battle. We will survive!

Step into the world of pozek with 'EPT', a 128 BPM electro-acid tune that takes inspiration from 80s toys like Speak & Spell and classic old-school electro. The track weaves quirky, retro acid lines with driving electro beats, creating a perfect fusion of nostalgia and futuristic energy.

When johnfaustus start an electro track for Zodiak commune Records, he always have in mind the journey of a spaceship to the edge of a dark galaxy. No exception with 'Oberon', syncopated rhythms, abrasive basslines and a dark spacy theme

Unite, released in 1992, marks the return of co-founder Khalis Bayyan, bringing a renewed energy to the album with a more R&B-oriented sound. This work combines romantic ballads and danceable grooves, while maintaining sophisticated arrangements. It reflects the group’s musical essence, with tracks like “Better Late Than Never” and “My Search Is Over,” blending funk and soul with elegance and emotion, offering a refined and energetic fusion of their influences.

Inkswel and Reggie B Unite for Full-Length EP "God's Way" on DJ Spinna's Wonder Wax Label.
Funk-infused Soul Meets Boom Bap Grooves in a Collaboration Decades in the Making.

Two forces in the music world, internationally renowned producer Inkswel and legendary singer, songwriter, and producer Reggie B, are set to make waves once again with their upcoming release, God’s Way. Released under the revered Wonder Wax label, helmed by iconic DJ Spinna, God’s Way is an eclectic fusion of hip-hop soul, P-funk, and a homage to the unmistakable Minneapolis sound, crafted as a love letter to timeless grooves and cutting-edge production.

Emerging from the same circle of musicians that spawned Squirrel Bait and Slint, Rodan formed in 1992 out of a failed high school rap project. Guitarists Jason Noble and Jeff Mueller enlisted Tara Jane O’Neil on bass and a couple drummers before Kevin Coultas came aboard permanently. After a couple 7”s and self-released cassettes, Quarterstick Records released the band’s first and only full-length Rusty in 1994. The band broke up at the end of the year, aiding their growing cult following. Jason went on to form Rachel's, Jeff started June of 44, and Tara began a solo career after recording with Retsin, and The Sonora Pine. Jason and Jeff later reunited in The Shipping News. Rodan was Quarterstick’s indie rock super group that spawned numerous other intriguing projects. “(Thirty years ago) a Louisville band called Rodan released the only record they’d make in their two year tenure. Rusty would become one of those records that launched a thousand very f**king good bands in the 90’s, an historical moment in real need of poets and punks and beautiful freaks who could render some sense and beauty out of the cultural grey water”. Joe Manning // “Whatever scene or geographical associations Rodan dealt with by being from Louisville, KY, in the early '90s, setting those aside and looking at the music straight up reveals one key fact: this was an amazing band, one with clear roots but also one with a sense of its own strong fusion… this is an album to readily get lost in”.

Showcase A delivers a refined collection of four stylish tracks, each crafted by a different artist, yet unified by their high-quality production and distinctiveness.

Opening with Fedo's 'Tunisian Rex', it immediately strikes you with a sophisticated fusion of house and techno. The track's smooth, polished sound is anchored by a key bassline, effortlessly guiding the listener through its very enjoyable flow. Following this, Andrey Djackonda & Ovil bring a lively energy with 'Lui Lui'. This song blends upbeat house vibes with playful jazz elements, creating an atmosphere of fun and positive spirit that's impossible to resist. On the second side, Legit Trip's 'Skripi Daddy' introduces a deeper, more minimal groove. The track's busy tech rhythm is skillfully layered with just enough room to then include a melody to elevate it further. Closing the album, Firesc's 'Left Or Right' offers a techy sound infused with eastern samples. The track's bouncy bassline and snapping percussion give it a unique, vibrant character that leaves a lasting impression.

Artisjok Records is happy to present you the second EP on the label of 'Hyas' - a Lyon based DJ / Producer who knows no bounds in merging different influences. The release kicks off with "Level", a fusion of broken beat and dub techno that creates a deep, textured sound, setting the tone for the entire journey. "Yellow Zushi" follows with a jazzier approach, weaving broken beat drums with smooth, melodic elements. For footwork aficionados, "Dontgiveashit" delivers at 160 BPM, blending a funky, jazzy vibe that captures the producer's energetic yet laid-back style. "In Walked Dub" then introduces the bass-heavy wobble of dubstep, featuring a homemade bassline that will shake any sound system. Finally, "Exclusive" pays homage to the early days of Skream with raw, dubstep-inspired grooves that will resonate with fans of the genre.

8 years after the official reissue of the LP “An Eye For An Eye” by Byrne & Barnes, Favorite Recordings proudly presents this new single release.
The 7inch first includes the classic “Love You Out Of Your Mind”, extracted from the WestCoast classic LP, which was a one-stop collaboration between Robert Byrne and Brendan Barnes, however both display incredible music career and went on to produce for famous artists such as Pointer Sisters, Patti Austin, Earth Wind & Fire, or Phil Collins to name just a few. The song parades all the elements of the AOR style: a jazzy sometimes fusion approach, with modern soul and groove flavors.
The other side features an exclusive and unreleased track by Robert Byrne, dug by the original executive producer up in his archives for our great pleasure. “Do You Wanna Make Some Love” is also nurtured with Westcoast and AOR vibes, while leering to Boogie and Disco influences. We have no doubt it will delight all the Byrne & Barnes music lovers and many more.

A New Musical Portal for Latin America: ROCK THA HOUSE TRAXX.

Born from the iconic Rock Tha House party, which celebrates 20 years this year, the brand now evolves into a vinyl-only label led by legendary Chilean DJ and producer Camilo Gil, alongside Mario Flores in Mexico City. Their mission is to focus on musical culture, recreating soundscapes that have left a lasting impact on time and influence.

For the first release, they bring together a fusion of styles and global sounds, featuring artists like Mihai Popoviciu from Romania, Swiss legend Quenum, seasoned Ibiza-based producer Nima Gorji, and Australia’s own Carlo Gambino.

This is not just about the party—it’s about creating and celebrating musical schools, styles, and artistic vision. ROCK THA HOUSE TRAXX is born today, bringing Chilean talent to the world.