Search:groove

Super Rhythm Trax is excited to welcome 303 enthusiast and incredible conceptual artist (check out his website) Yuri Suzuki to the label. Yuri serves up 4 acidic tracks that are perfect fit for the label, all of them giving you that little bit extra, burrowing deep into the groove whilst giving plenty of extra elements to push the listener that bit further ‘out there’.

Yuri has collaborated many times with DMX Krew and appeared on labels as diverse as Matthew Herbert’s Accidental Jnr, Jared Wilson’s 7777 and Chicago’s mighty Trax records.

The Isley Brothers “Knowledge is power. I’m a witness to that. Our parents wanted us to have a complete musical education. They exposed us to everything, classical to country, standards, show tunes.” Ronald Isley, Mojo Magazine, 2000 The Isley Brothers have delighted audiences since the 1950’s and are celebrating their eighth decade in show business. Morphing from their roots in gospel and doo-wop through funk, rock and then, finally, into slow-jam R&B, the Isley Brothers remain one of the most fascinating groups of all time.
This album contains some of the most life-affirming music ever recorded: Ronald Isley’s keening yelp offering strength and sensitivity as it is supported by brothers Rudolph and O’Kelly. Our collection picks up their story in 1969. By this time, they had been recording for 12 years for many legendary labels, from RCA, to Atlantic, to Motown.
The brothers decided to go it alone on their own label, T-Neck. The repurposed Isleys broke onto the scene with the US R&B No.1/Hot 100 No. 2, ‘It’s Your Thing’. The album of the same name was a Top 30 smash and the group’s decision was vindicated. ‘It’s Your Thing’ marked a meeting point of influences: Sly Stone, James Brown, gospel and one-time group member Jimi Hendrix, laying the template for the Isleys’ next decade, from the gritty rock covers of Givin’ It Back to the era-defining ‘3 + 3’ (with the formal addition of the two younger Isleys, Ernie and Marvin, plus brother-in-law Chris Jasper).
After the 1972 release of ‘Brother, Brother, Brother’ (featuring the classic ‘Work To Do’) T-Neck moved to CBS leading to their first Platinum-selling album (1973’s ‘3+3’). Produced with Malcolm Cecil and Robert Margouleff, ‘3+3’ was practically prescribed to every soul boy in the UK (witness Wham’s cover of ‘If You Were There’). For the Isleys to take their old R&B hit, ‘Who’s That Lady’ and turn it into hard-rocking psychedelic soul was a blazing statement of their
intent. Their version of Seals and Croft’s pretty ‘Summer Breeze’ became one of their biggest hits, with Ronald and Ernie stamping their authority on the ballad. A period of phenomenal success followed. For every standout ballad (‘For The Love Of You’, or ‘The Highways Of My Life’), there was strident, take-no-prisoners political funk - as typified by ‘Fight The Power’, a US R&B No. 1 in 1975.
It was written by Ernie on the same day as another of their greatest moments, ‘Harvest For The World’.
This collection is a beautiful overview to the group, a most fabulous re-introduction to old friends. This era is affectionately known by the Isleys as the ‘gold and platinum years’ - one listen and you will understand why.

Levitation Orchestra are the next progression of London's vibrant jazz scene. A vibrant collective with a balanced, workshop-orientated approach to composition, members include Axel Kaner-Lindstrom (Cykada), Xvngo (Nihilism, SEED Ensemble), and Maria Zofia Osuchowska (Alabaster dePlume). Their alternative instrumental line-up, spiritual jazz-informed groove, hard-hitting spoken word verses and highly original compositions are taken to the next level with their forthcoming album, Illusions & Realities.

Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently
seeped its way into popular culture. Lovingly restored
and remastered on 180g vinyl with liner notes.^

Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in
1984, the track list includes the latter day hit ‘Only You’
and ‘Things Fall Apart’, the melody of which was lifted for
Young Franco’s 2020 single ‘Fallin’ Apart’.

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that ‘Requiem’, their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced ‘Oh Death’ - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, ‘Oh Death’ is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious ‘70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. ‘Oh Death’ is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning.

We have a very special new artist for you from Berlin. Dutch native Pete Bandit relocated to Berlin some years ago where we first met in 2018 when he was part of the “Times Are Ruff” collective. They contributed a track on Dirt Crew for our “Deep Love 2018” compilation.
Now recently going solo he developed his sound even more towards Detroit-ish house with dabs of techno and a bit of high tech jazz in there as well. This debut EP offers Loads of deep soulful grooves, spiritual “computer” music at it’s best!

The A-side “Wild Feelings” is such a beautiful opener to this record, with it’s lush spread out intro it paves the way with that perfect mood for what is to come, a mix of soul, funk and electronics and overall well crafted deepness. The keys on this one were contributed by the mysterious “Nelson of the East” topped with vocals by Pete himself. “It’s Happening Again” continues the story with soulful deep house textures and this one especially reminds us a lot of those early 90s Chicago/ New York House gems, the track is building towards a great breakdown key change and with its atmospheric strings and pads it’s a truly uplifting “Good Times” tune.

On the flip we have “Computer’s Creativity”. This track picks up the pace and is centered around a funky, almost slap like, bass line. Here again topped by a vocal add of Pete about “Computer’s Creativity” and with it’s cool break this one will also be a sure floor filler, guaranteed! The closing track on this record is the driving “Luv Your Body”, great percussion guides us through a loose set arrangement and make this one a perfect late hours or early mornings tune in any mix, it could go on forever!


All tracks have been mixed by Ariel Schlichter in Berlin and mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Pusher returns to his own Indicate at the end of October with the two-track ‘Pianos By Day / Sounds Like Voodoo’ EP. Over the past few years Ireland’s Pusher has been unveiling a series of EPs on his own Indicate imprint, showcasing his own twist on contemporary House while stirring in elements of progressive, trance and electronica throughout. Here Pusher offers up the eighth release on the label and leading the way is ‘Pianos By Day’, as the name would suggest a piano laden, sun-drenched house anthem laid out across six and half minutes with robust, swinging drums, bumpy bass stabs and a sweeping, filtered hook at its core.
‘Sounds Like Voodoo’ follows on the flip side and embraces a more classic tech house feel via gritty bass stabs, intricately intertwined synth sequences, metallic melodies and playful vocal chants running atop an up-tempo organic drum groove throughout.

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

Mondo, in conjunction with Troll Court / WaterTower Music, is proud to present the premiere vinyl pressing of the latest mix-tape masterpiece curated by writer/director James Gunn ... the soundtrack for his superhero action-adventure film THE SUICIDE SQUAD

Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. "DRIFT" is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre's past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, "DRIFT" draws on the raw energy inherent to `60s / `70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift?

dark green marbled vinyl

The 47th release features a collaboration between two friends, techno vets and label owners: Deepak Sharma and Cory James.

The result is a two track EP combining the best of what these experts have to offer in the hypnotic realm: rolling bass, subtle shifts in percussive movement and eerie sounds that create a complete late-night soundtrack.

Dino Divine
Side A features nine minutes of relentless groove with dramatic sweeping pads for the ultimate journey deep into the night.

Gowanus Taps
Side B has an analog and darker raw vibe, combining massive bass grooves with well-timed percussive surprises.

Rush Hour-affiliate and Amsterdam local Relmer is back with what may well be his best work so far. ‘H2O’ expertly displays the vibrant energy he’s known for around these parts with two Amazon-inspired deephouse groovers, a melancholic walk through the jungle, a Detroit-infused progressive anthem and a hypnotic midtempo floorwarmer. Absolutely stellar stuff from A to Z.

“Super nice versatile EP by Relmer, Bummers Paradise has been a firm favourite this summer”
Esa Williams

"Blissful sounds, dancefloor material, and most of all, all very fun music to listen to. 10/10"
Fatima Yamaha

ZG ist der Name des neuen Projekts von Zansika Lachhani aus London und Grant (auch bekannt als Anthony Collins und der Tony in Frank & Tony) aus Brooklyn. Das Konzept entstand aus einer Online-Verbindung, als Grant und Zan sich auf Soundcloud kennenlernten und beide unabhängig voneinander von der Musik und des anderen schwärmten.

Im Jahr 2018 begannen sie zusammenzuarbeiten und entwickelten eine Reihe von Tracks, stellten das Projekt aber schließlich ein, da andere Lebensverpflichtungen in den Weg kamen. Im Jahr 2021 entdeckte Grant beim Entrümpeln alter Festplatten die Aufnahmen wieder und war begeistert von der Musik, die bereits darauf gespeichert war. Gemeinsam begannen sie, das Projekt zu überarbeiten und weiterzuentwickeln, was zu einer atemberaubend schönen Sieben-Track-LP führte.

Der Opener 'Jungle Times' ist ein atmosphärischer, verträumter Song mit einem eigenwilligen Breakbeat und geflüsterten Vocals von Zan Platz, die den Sound gleichermaßen zwischen Londoner und New Yorker Stilen schweben lassen. Es folgt das rätselhafte 'Roll of Thunder', das mit seinen kraftvollen Breakbeat-Patterns, tiefen und gefühlvollen Streichern an 4Hero in ihrer Glanzzeit erinnert.
'When Young' bringt eine Jazz-Ästhetik in den Vordergrund, mit vordergründigen Drums und Rhodes-Akkorden, die sich in melodischer Glückseligkeit überschlagen. 'Ombre' beginnt mit einer dicken Basslinie und drängenden Synthesizer-Stabs, bevor es sich zu einem abgedrehten Groove entwickelt, der von dicken Synthesizer-Linien und subtilen harmonischen Akzenten überlagert wird. In ähnlicher Weise verwendet 'Aura' die gleiche Klangpalette mit Gitarren und funkelnden Flächen, die eine erhebende und doch melancholische Reise erschaffen. Der erste echte Gesang kommt im vorletzten Stück 'Dog Days' zum Vorschein, das sich verträumt über wunderschön sich entwickelnde Synthesizer-Waschungen und flirrende Beats legt. Wenn 'Drift Out' den letzten Akt dieser außergewöhnlichen LP einläutet, schweben wir auf Wolke sieben.

Jetzt auch als Deluxe 3LP im violetten Vinyl erhältlich, dieses Format wird die orange-farbene Deluxe 3LP Edition in der Zukunft ersetzen! Das Belfaster Duo Bicep veröffentlichten ihr zweites Werk 'Isles' bereits Ende Januar 2021 und das Album chartete auf Platz 8 in den deutschen Albumcharts!

Zwei Jahre in Arbeit, erweitert „Isles“ die kunstvolle Energie des 2017 erschienenen selbstbetitelten Debütalbums von BICEP und vertieft gleichzeitig die Klänge, Erfahrungen und Emotionen, die ihr Leben und ihre Arbeit beeinflusst haben. Sie beschreiben „Isles“ als „eine Momentaufnahme“ ihrer Arbeit in dieser Zeit, wobei die Stücke so konzipiert sind, dass sie sich in ihren verschiedenen Durchläufen von der Aufnahme bis zur Live-Show und darüber hinaus entwickeln. Der weltweit beliebte Sound von Bicep entstand, als ihr eigener rasanter Aufstieg im Musikbusiness begann. Nach dem Start ihres legendären FeelMyBicep-Blogs im Jahr 2008 entwickelte sich ihre simple Website, die stets neue Italo-, House- und Disco-Juwelen aus der Musikgeschichte präsentierte, zu einem durchschlagenden Erfolg, der regelmäßig über 100.000 Besucher pro Monat verzeichnete. Nachdem der Blog ein Plattenlabel und eine Clubnacht hervorgebracht hatte, wurde das Duo mit begehrten DJ-Sets, die die musikalische Vielfalt ihres Blogs widerspiegelten, auf die internationale Bühne gehoben. Nach den Erfolgen mit Produktionen für Throne of Blood und Aus Music wurden Bicep 2017 bei Ninja Tune unter Vertrag genommen, wo sie im darauffolgenden Jahr ihr umjubeltes, selbstbetiteltes Debütalbum veröffentlichten, das einen Top-20-Einstieg in die britischen Charts erreichte und in der Groove schaffte, was in der langen Geschichte des Magazins noch kein Release bewerkstelligen konnte: sowohl die Kategorie „Album des Jahres“ als auch mit „Glue“ die Kategorie „Track des Jahres“ zu gewinnen. Titel wie „Opal“ - und der bald folgende Four Tet-Remix - sowie die eben erwähnte Lead-Single "Glue" mit dem von Joe Wilson entwickelten Video wurden 2017 zu Meilensteinen der elektronischen Musik, wobei letzteres vom DJ Mag ebenfalls zum „Track of the Year“ gekürt wurde.

Formate:

- Purple Dreifachvinyl (140g) im hochwertigen Gatefold Sleeve inklusive Downloadcode inkl. 3 Bonustracks

Bari-based producer Frhanks visits Bucharest via Chicago on this organic and entirely distinctive EP for Lisbon label Welt Discos. ‘Bonus Beat’ is a raw blend of jazz and jack trax that leaps straight out of the Music Box to slap you round the face. The extended meditation of ‘Spring’ adorns a minimal groove with delicately plucked improvisation, striking a pastoral mood for the first glimmers of daylight. On the flip, ‘When Is Time To Go Home’ trips along like a late morning walk back to the tent, caught somewhere reassuring between reverence and whimsy.

"Ramblin' Soul was inspired by the new appreciation I had for the freedom to travel around the country and perform," explains lifelong wanderer Melissa Carper of her forthcoming album. Carper was relieved and energized to be back on the road, on a familiar pilgrimage from Texas to Arkansas and back to meet and collaborate with musician friends. "I had taken for granted the ability to interact with audiences and friends and how much it feeds my soul and my creative process," she adds. Feeling inspired by time on the road and time with other creative minds, she penned the title track on the way back home, and the Ramblin' Soul seeds were planted. From its conception and throughout the recording process, Ramblin' Soul seemed to take on a life of its own. "It wasn't what I had first planned," Carper recalls. "A couple of the songs we recorded I'm now saving for a future album, and there are some brand new songs I decided to add, including one that was written during the week of recording. Thematically, I had a handful of songs about rambling around and living a free life that I wanted to weave through the album. I also knew I wanted Ramblin' Soul to have a different feel than my previous release, Daddy's Country Gold, with more upbeat and diverse styles and grooves," she says. Ramblin' Soul features a co-write with friend Gina Gallina, a song penned by friend and frequent collaborator Brennen Leigh, a reimagined classic from folk pioneer Odetta and 10 Carper originals--venturing into her blues, early rock 'n roll, and soul influences, blended with her signature flavors of country, western swing, and jazz. There is something for everyone on Ramblin' Soul.

It’s almost four years since their last opus - two years since the most-recent run
of live shows. Now, Bitchin Bajas return from whatever kind of rare ether they
occupy when they’re at home, bearing the riches of the whole cosmos in their
hands. And strictly OG as well - on cassette only.
 ‘Switched On Ra’ is the outcome of a typical Bajas exercise: pouring some out
for the pioneers that came before (as they’ve done with Bitchitronics and their
participation in the annual Chicago performance of ‘In C’ over the years). It’s a
nice way to get a flow - they play a little of themselves, then some for the
pioneers, then a little more for the band. Before long, they’re playing with the
inspirations twined, as they can only come from within.
 For ‘Switched On Ra’, this meant a deep delve into the song-book of one of their
soul-predecessors, Sun Ra, whose music is literally written in the Bajas DNA.
Digging into this music sounded wild on paper: the drone synth group taking on
the Arkestra harmonies and Ra’s loose grooves? The trick was to get that sense
of rhythm to translate across the spectrum from Ra to Bajas, in a way that
worked for them both.
 Their rearrangements of the tunes went good - up and down the EQ band, they
were finding the round sounds and jagged edges that brought Ra’s music into
their own thing. Then at the last minute, there was another twist - why not pay
tribute to the Queen herself, and think of the arrangements with a Wendy Carlos
vibe? A little side homage? After all, ‘Switched on Bach’ was visionary, bringing
analogue synths from the outside all the way into the mainstream in the late 60s -
and this take on Ra is meant to take him to new ears everywhere.
 Sun Ra of course was his own kind of original keyboard visionary, using electric
keyboards in the late 40s and 50s to fill a role in jazz that had traditionally been
played on acoustic piano only. Once he’d done so, he took his writing in
directions inspired by the electricity, places no one had thought to go before
then.
 Bitchin Bajas have been content to dominate in a microtonal world, usually
without a single chord to be found anywhere. But here, they step up righteously,
their vibe triangulated as they bring Ra’s music forward with some Wendy C
style, making an unexpected space for all to thrive. There’s a real feeling of joy
as these collected signals bounce off the tape and through the speakers into
your space.
 To get this unique colloid exactly right, Bitchin Bajas used nineteen different
keyboards. They abstained from deploying their arsenal of reed and woodwind
instruments: everything had to be on the keys. This meant Yamahas, Rolands,
Korgs, Casios, a MicroMoog and of course their trusty Ace Tone organ. They
even broke out the Crumar DS-2, to have some of Ra’s chosen tone in the mix.
Then Jayve Montgomery added an EWI as a solo voice on a few tunes, just to
get some air-blown signal (and a natural shout out to EWI master Marshall Allen)
in there, after all. It felt like somewhere in the universe, Ra was decreeing it.

Limited Clear Vinyl edition, 500 copies! Originally released on Impulse in 1962 “Soul Trombone and the Jazz Clan” was a major statement from one of the great trombone players in American jazz. Here Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos.In one word: an outstanding record!

Limited Clear Vinyl edition, 500 copies! Originally released in 1961 by Prestige/New Jazz label, “Straight Ahead” marks the last Dolphy’s appearance
within a series of fortunate collaborations with saxophonist Oliver Nelson. This is a great modern jazz album taking shape from a quintet studio
session (all first takes) engineered and supervised by master Rudy Van Gelder and featuring: Oliver Nelson - alto and tenor saxes, clarinet - Eric
Dolphy - alto sax, bass clarinet, flute - Richard Wyands – piano - George Duvivier - double bass and Roy Haynes on drums. A serious bunch of jazz
stylists all caught in fine form and concentration. Needless to add that the Nelson-Dolphy sax tandem shines throughout the whole album while
Duvivier and Haynes inject their angular yet hard swinging groove. The track list consists of five Nelson’s originals plus Milt Jackson’s “Ralph’s new
blues”

BLUTHARDINO, Komponist, Arrangeur und Multiinstrumentalist von MONDO SANGUE, erhebt mit DISCO VOLANTE 80 seinen Retro-Sound in völlig neue Sphären und erweitert die filmische Epik seiner Band mit Einflüssen von Soul, Funk und spacigem 80er-Jahre House. Herausgekommen ist ein vorwiegend instrumentales Producer-Debutalbum. Der groovende Retro-Cocktail eines Sound-Wizards, der hier einmal mehr ein enormes Gespür für den Sound der 70er und 80er Jahre beweist. Gesangliche Unterstützung gibt"s von Indie-Ikone FUTURE FRANZ und - erstmals auf französisch - von Bandkollegin YVY POP.

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. The tracks from the accompanying single (Juju Funk / Return Of Baron Samedi) have already received very strong radio responses from around the world. They have both been supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, with Nasser Bouzida discussing the rhythm influences of Return Of Baron Samedi on the Cerys show. Many specialist funk shows from Australia, Germany, France Canada and the US have also been supporting those tracks. Expect further support for this the second single Double Groovy as it is sent to radio and goes live on streaming services. This is set to be an essential 45 for funk DJs. Grab a copy of this very limited release while you can. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. This is the second single, the two sides of which will be sent to radio though Sept / October / November. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Double Groovy B Side – Trans-Pacific Express

John Scofield's first guitar-solo-recording ever gives a résumé of all the
influences and idioms he has cultivated over his career in performances
on guitar, accompanied by his own rhythmic pulse and chordal backing
using a loop machine
Besides jazz, John is known to have always also had a soft spot for the rock and
roll and country music he grew up with, revealed here in unencumbered renditions
of Buddy Holly's "Not Fade Away" and Hank Williams' "You Win Again". Between
elegant and personal readings of standards, like "It Could Happen To You", the
traditional "Danny Boy" and Keith Jarret's "Coral", Scofield presents his own
timeless compositions - some new, others known.
For the guitarist, it's all about "the way you get the sound out of the string and
what you do with it after you attack it."
John Scofield: electric guitar and looper
Press:
"Scofield is as fiery as ever, plugged in and using loops to give himself a
background groove on some of his gritty originals or putting a punkish spin on
romantic ballads." - **** The Times
"This isn't an album to listen to in a hurry; but if you were pressed for time, the last
two tracks alone would give you a sense of Scofield's extraordinary range. The
bebop- heavy Trance De Jour is antic, angular, questing. But then we close with
You Win Again, a Hank Williams cover, serene as a sunset over the prairie." - ****
The Daily Telegraph
"Here he has distilled his decades in this crazy business into a baker's dozen of
songs that may appear modest in ambition - only one track runs to more than five
minutes, several run to barely three - yet is mighty in impact...This album needed
no other title. This is John Scofield." - **** Jazzwise
"(8/10) The result offers an intimate insight to Sco's skills as both guitarist and
arranger. It's a late-night album - quiet, introspective and really quite beautiful, too,
with Sco's musical soul laid bare before us." - Guitarist

This show, captured on November 28, 2001, came on the heels of his hit
single, Like Humans Do and the release of the album Look Into The
Eyeball, which was another typically eclectic musical stew reflecting a
variety of styles and influences, from Philly soul to a DC Go-Go inspired
groove and his first-ever Spanish composition, Desconocido Soy
Critics at the time called it his best work in years, and his performance on the
Austin City Limits stage shows why. Joined by Austin's own eclectic tango
ensemble Tosca, Byrne takes us down many different musical roads in his ACL
debut.
Of course, besides the brilliant songwriter and performer that he is, he's also an
accomplished performance artist, photographer, web journalist, film writer /
director, composer of motion picture soundtracks, and founder of his own world
music label, Luaka Bop Records.
He also has a collection of Grammys, Oscars and Golden Globes on his mantel.
His music may be complex and poetic, but he makes no bones about his ultimate
intent: I want to move people to dance and cry at the same time."
- Terry Lickona (Producer Austin City Limits ®). 2LP pressed on Red Color Vinyl.

** INITIAL 400 LPs CONTAIN A BONUS 7" OF A RARE XMAS SOUL 45! **

** THE 4th VOLUME OF RARE & HIP-SHAKING SEASONAL GROOVES!! **

Dear Santa, we just loved "Santa's Funk & Soul Christmas Party," Volumes 1-3 TRLP-9013, TRLP-9027, TRLP-9050, and we have really tried to be good this year! Please bring us a whole 'nother album's worth of rare and obscure Christmas-themed funk and soul!

When the third volume of "Santa's Funk & Soul Christmas Party" was released in 2015, everybody involved was certain that it would be the final one. For years, the curators had been looking for "Christmas Rare Grooves" until they finally realized there was nothing left to discover that would justify a fourth volume. Sure, it would have been an easy task to dig through the catalogues of major labels to come up with 40 minutes of more-or-less trivial Christmas soul music. But who on earth would want that kind of album? Since the foundation of Tramp Records in 2003, the label has gained a high reputation as one of the very few German reissue labels of obscure funk, soul, and jazz music. 99% of the songs originate from 7" singles, the small and handy standard-format of the 1960s, which, like Santa's sleigh magically circling the planet on Christmas Eve, spins at forty-five revolutions per minute on the turntable.

So, what can you expect from this, the fourth volume of a series which had ostensibly been completed with only three volumes? After some seven years of digging across the world wide web with open ears and eyes, never tiring of the hundreds of (mainly) shitty songs, hoping to find that kind of monster soul or funk track that constituted the hallmark of the previous volumes, the compilers slowly and surprisingly began to see a fourth volume taking shape. Finally, after more than two thousand days, a complete album's worth of quality tunes had been discovered and secured for release.

"Santa's Funk & Soul Christmas Party Vol. 4" contains a highly diverse selection of obscure Christmas songs. For example, take Bey Ireland's garage-mod-rocker "All I Want For Christmas Is A Go-Go Girl," is something to get you go-going around the tree! Do you prefer mirror-balls to tinsel? Check out Bill Deal with Pure Pleasure. Too fast? How about the dazzling-melancholic "I Won't Be Home For Christmas"? Do you prefer rap music while you wrap presents? Then your choice is going to be Hot & Sassy. Old-School-Hip Hop at its best. Every single song has a compelling reason to be included in this extraordinary selection. Not least is the opening track by Sharon Jones & the Dap-Kings. Their contribution represents the soul sound of the 21st century. Charming soul music with sociocritical lyrics, something you rarely find in the current musical landscape.

Even though the selected tracks that the two compilers and their worker elves proudly present on "Santa's Funk & Soul Christmas Party Vol. 4" are unbelievable, they are very real and will be the surprise gift from Santa this season that can be enjoyed year-round! It took seven years to complete, but believe us when we say it was well worth the wait. Merry Christmas, everybody!

Key selling points:

- initial 400 LPs contain a BONUS 7" of a ULTRA-RARE Christmas soul 45

- ALL but one song appear on CD, Vinyl LP and digital for the very first-time

- the vinyl LP comes with a full album download code

- fold-out CD-booklet and gatefold LP come with liner notes and label scans

Tiptoes makes a welcome return to SlothBoogie Records with a fresh four-track EP, entitled ‘The Akai Samurai Strikes Again’.

Glasgow’s Tiptoes has long been a respected name in the Scottish electronic music circuit, bringing his eclectic style to the table as a DJ, blending everything from jazz to jungle, house to techno, garage, broken beat and many more genres. His productions are a nod to his many influences and once again with this EP were treated to an amalgamation of sounds.

‘Techno Woo’ leads the way and see Tiptoes embracing a filter house feel, merging a number of choppy funk licks, vocal chants, and bass lines in an ever-unfolding dynamic matter, while dusty drums carry the bouncy groove throughout. ‘Brotherman’ then tips the focus on to soul drenched guitar lines, brass melodies, snaking bass grooves and hypnotic vocal lines alongside loose, swinging percussion.

Opening the flip side is ‘Mars Landings’, embracing a deeper house aesthetic courtesy of hazy Rhodes chords, swelling vocal loops and organic drums before ‘Strings’ rounds things out, as the name would suggest the composition is built around expansive string melodies, gritty bass stabs and sturdy, thunderous drums.

Luuk van Dijk has unveiled his hotly-anticipated debut album First Contact, out 11th November on his own Dark Side Of The Sun label. The Dutch DJ and producer’s maiden LP is the end result of a long and intense voyage of discovery.

Years in the making, it’s a project that Luuk can fully stand behind and be proud of. Next to a search for his own identity and his own place in music, it has also become a passage
through time.

By far his largest body of work to date, the 13-track release kicks off with the suitably-titled ‘Cosmiq’, a deep, grooving sonic exploration that immediately sets the tone. “Because of this
track I wanted to make an album to showcase my other kind of music that people won’t maybe expect of me,” Luuk explains.

Next up is the shimmering, ethereal sounds of ‘Love You’, a track that features the irresistible vocals of US singer-songwriter Dawn Richard and will be released as a single in October. “She really brought this track to a whole new level,” says Luuk. “I couldn’t be more happy with the result.”

Further collaborations come in the form of ‘Wolf’, a majestic, strings-led house cut featuring Steve Burton of oneofmanysteves; ‘Master Plug’, a deep, jackin’ number with Chicago artist
Kid Enigma; and the Detroit-indebted ‘Together We Rise’, punctuated by the spiritual vocals of MC Roga. “I tried making a track the way they used to make music,” Luuk says of the latter.

“With as few machines as possible, just a mixer, sampler and some synths.” Additional highlights include the enchanting ‘Let The Bass Kick’, orchestral ‘Lightning
Striking’ and hypnotic ‘Hot Stuff’, before ‘Knowing How To Love’ closes things out on a peculiarly wistful note. “The last track of the album, also a track that started as an interlude and
ended up being a full song,” says Luuk.

“This song basically sums up how I’ve been feeling the years 2020 and 2021, very emotional, sad, but also hopeful. Everything will be alright.”

One of the hottest new names coming out of Amsterdam’s bustling club scene, Luuk van Dijk is currently making waves in international waters with his infectious take on spirited house
music.

He has already released on labels like Hot Creations, Cuttin’ Headz, Solid Grooves Records and Eastenderz have established his name as a house music prodigy.

He launched Dark Side Of The Sun in 2020 with the aim of exploring a broader approach to his signature style.

First Contact represents a vivid sonic snapshot of one of electronic music’s brightest young talents.

Early DJ Support :

Jamie Jones
Marco Faraone
Carl Craig
Yuksek
Sasch BBC
CamelPhat
Paco Osuna
Stacey Pullen
Tocadisco

Dynamite Cuts is proud to be able to press, for the first time on 7” vinyl; the superb, original, Brit-Funk cut, taken from the rare and highly collectable 1977 self-entitled album FBI. Our A side, “Keep on Running”, is an uplifting vocal groove written by Mr. Stevie Wonder, delivered by F.B.I. Awesome: a heavy so groove, driving vocals, and a funky clav groove makes this a perfect vibe and an essential track.
On the flip is our part two version, a breakdown from the original master tape, giving a moving and up-tempo feel; a supreme funky instrumental cut, edited. Heavy groove, including a massive DJ drum break.

Toronto’s Dan Lee steps out of the spotlight and into the producer’s chair on the new collaborative Lee Paradise LP, Lee Paradise & Co., due October 28 2022 on Telephone Explosion. Lee Paradise & Co. follows 2020’s critically acclaimed The Fink LP, and finds Lee flipping the shadowy nihilism of the project’s previous releases upward into a sort of cybernetic universality. This is Dan Lee in producer mode, veering away from the pursuit of a singular musical direction rooted in personal vision, towards of a process rich in collaboration, emotional expansion and tonal exploration.

Starting off as a set of mood-focusedinstrumental sketches drafted by Dan on his own, the compositions began coloringthemselves in after he started sending the tracks out to collaborators, asking them to contribute without much in the way of direction or intention. With help from an ensemble cast of artists including Carlyn Bezic (Jane Inc.), Jonathan Pappo (Scott Hardware, No Frills, Ducks Ltd), Scott Hardware, Isla Craig, Victoria Cheong (New Chance), Jay Anderson, Charise Aragoza & Lukas Cheung (Mother Tongues) and Daniel Woodhead (Moon King), nearly every aspect of this album’s creation eventually became open to collaboration, from musical performances, lyric writing, and vocals all the way through to mixing and mastering.

Sonically, the record is still unmistakably Lee Paradise: a widescreen polyrhythmic psychedelia that melts, bubbles, whirrs and klanks; the sound of the human and the machine grooving in accordance towards new futures. The album’s sonic palette is at once synthetic, warm and extraterrestrial. Arpeggiated square wave melodies dance in lockstep with crunching hi-hats, digital bells and chimes fall like crystal rain in stereo above plush pads and gurgling bass figures. Used to finishing the records on his own, Lee mixed this album with Montreal’s Asher Gould-Murtagh and the results are spacious, dusty and dubbed out. “Carnival” sets the scene with it’s stuttering, busted funk groove and ribbons of aqueous vocal harmony from New Chance’s Victoria Cheong. “Raffles”(featuring one of Daniel’s two vocal performances on the record) radiates a mellow optimism in its solar-warped balearic bliss. The album’s final track, “Youngish” is a gliding, melancholic downtempo instrumental thumper saturated in a kaleidoscopic array of lysergic tones. As always, the record anchors itself to the dancefloor with the screwed-down electro of “Cement”, the swinging midnight afterglow of “Leaving” and “CS2X”’s fluttering rave arpeggios.

Lee Paradise & Co. is the sound of an expert producer and sound sculptor conceding to the elusive flows of inspiration, knocking genre conventions askew and hopscotching between a variety of styles, musical identities and sound worlds with absolute panache.

Zopelar arrives on Tartelet with Charme - an album of effervescent machine funk harking back to a golden era of Brazilian party music, releasing October 21st.

The era of interest for Sao Paulo’s Pedro Zopelar begins in the 1980s in Rio de Janeiro, when a particular phenomenon caught on at suburban parties which became known as Charme. “Charme was like a mix of slow boogie, RnB and new jack swing,” explains Zopelar. “DJ Corello started calling ‘charme’ the moment of the party when he played slow grooves and felt that the people started dancing differently, with sexier synchronized moves. Some years later, charme evolved from an awaited moment of a night to a whole movement of parties just playing that kind of music. On this record I tried to make something that brings this emotional feeling to my music in a modern way.”

Much like the original genre-not-genre he drew inspiration from, Zopelar’s approach across his latest LP spans different moods and tempos. There’s blissful, sultry mystery lingering around ‘Clara’ and ‘Do You Feel?’ while OSAGIE lends some chops to the exquisite, Rompler-powered synth funk of ‘Chain Net’. The lead singles ‘Shibuya’, ‘Charme’ and ‘Passado’ all tap into varying shades of deep house, from slinky City Pop-tinted loungers to peak-time dance pop and Larry Heard-influenced flavours, with the constant being Zopelar’s immaculate production and the unbridled warmth of his compositions.

Continuing the Latin-rooted theme of the album, the artworkconception of Charme was realized by multidisciplinary artist and curator Ode, showcasing a popular style of street paintings made by anonymous artists throughout Latin America. It’s not about graffiti-culture but a popular solution utilized by small restaurants, bars and other establishments to use their own walls for commercial purposes, hiring artists to paint food and drink menus or other information about their products.

With an emotional sincerity stemming from his move to reconnect with the Brazilian dimension of his creative background, Charme arrives as Zopelar’s heartfelt celebration of life and music, of sentimental moments shared and good times enjoyed.

Means&3rd returns to Unveiled Nuance with 002 following the label's debut 'Thought Contortion'. This time coming armed with 4 tracks providing a more direct club sound and falling in line with NUANCE001's affinity for low-end, tight percussion and underlying tribalism.

‘Aberrance’ opens Side A with a broken rolling kick drum and FM-type polyrhythmic stabs which reach a
kinetic climax with further patterns of distorted FM crunch and propulsive percussion that sit next to alien
sound FX. ‘Life’s Glorious Mosaic’ gives way to a much more mesmerising mood, utilising classic CR-78
percussive shots to provide energy amongst a sea of delicately delayed glassy synth chirps, spacious and
mystic, the perfect hypnotic spell.

‘Kairos’ is the first cut on side B, picking up the pace with deep and dense shamanic formant drones
juxtaposed against ethereal stabs which provide rest bite from the heavy groove, a chance for the ear to get lost in a moment of psychedelia before seeing us out with the return to the solid rhythm. ‘Discordianism’ closes out the EP, anchoring around the repetitive grit of the lead synth, textured stabs unfold next to squeezed shots of phased synth work that subtly lay underneath it, the whole track, reduced in nature,perfect as a layered tool.

Pressed on 140g black Vinyl, reverse board full colour print sleeve with poly-lined inner sleeve.

Produced, Programmed and Mixed by Means&3rd
Mastered by Neel @ Enisslab, Rome
Cut @ Schnittstelle Berlin
Design by Means&3rd
Pressed By Matter Of Fact, Güstrow, Germany
Distributed by Rubadub, Glasgow

Dynamite Cuts is proud to release this mighty afro funk 7” double by the mighty MATATA band. Both tracks taken from the Mega rare and collectable “Independence” LP. On the A side is “I Feel funky” the perfect club dancer, with its up-tempo groove and catch chorus, win, winner. On the flip is the hidden treasure, and for the first time on 7” vinyl the massive!! “Talkin’ Talkin”, a killer afro funk mid-tempo groove with a great lyric plus an almighty old school drum break, just perfect.

This 2LP edition of 'Polaris' is presented in a wide spine sleeve. TesseracT are currently on a headline world tour in support of Sonder, which began in North America, through Australia and on to Europe and the UK with

Between the Buried and Me including London's O2 Shepherd's Bush Empire. The band have also announced a second extensive tour of North America in Feb/Mar as guest support for BTAM.

'Polaris is, at last, the platonic ideal of a TesseracT album, the one where they get everything just right. It's drama bringing, supremely melodic and riffheavy.' - Revolver Magazine

The pioneers of an ever-evolving metal scene, TesseracT, released their fourth studio album entitled 'Sonder' in April 2018, following 2015's worldwide acclaimed 'Polaris'. Originally formed as a studio project by guitarist Acle

Kahney, TesseracT are a band full of melody, dynamics and groove, they sit outside the bounds of any genre specificity to truly create a sound that has always been pioneering and creative; an unstoppable force of off-kilter riffs,

soaring melodies and disorientating atmospherics. Prior to 'Sonder', the band's vision quickly translated to success, with a collective 100,000 sales in North America alone. 'Polaris' reached Billboard's #10 (Hard

Rock) & #57 (Current Albums) charts and #9 in the UK (Indie Albums) and #7 (Rock and Metal) and have seen continued support from worldwide press. Having found a new creative energy after reuniting with original singer Dan

Tompkins, the band's output changed in 2015 with the opus 'Polaris'; an undoubted evolution from 'Altered State' and features skilful experimentation with sounds and tones, plus a deeper exploration of the core attributes that

define TesseracT's trademark sound. 'keeps impressing with every release, going with different ideas and compositions while still keeping their identity' - Outburn Magazine

'is best defined as a sum of the group's polished production smoothly colliding with an offensive onslaught of vocal and instrumentation virtuosity.' - Metal Injection

- 2022 repress / comes in label sleeve -



We launch our rocket number 057 by the expert hands of Tensal, three pieces of direct to the floor operational techno, faster, heavier and darker than the previous outcome by Hector.

On the A-side, the first cut is "Civil Defense", sharp continuous sequences showing up right from the beginning, solid kicks and a memorable break. This one is gone make some damage in sound systems out there.

B1 "Collapse", again starting with no remorse, white noises, distorted textures, heavy sub bass action and hi speed tempos, another to the bone exercise.

B2 is "Bihotxak", solid grooves, percussive panned details, on a linear and tooly arrangement excellent for long mixes and build-ups.

Composed, designed and recorded by Tensal. Mixed by Oscar Mulero.

DJ Different dons his Terraform alias as he begins his journey in ‘Entering The Void’ on CYBERDOME; exploring phat electro bass-lines and party-starting ghettotech energy with its crosshairs fixated firmly on the club environment.

Born and raised in the culturally rich city of Malmo, the Swedish producer has previously released on London based label Deeply Cultured, Distant Hawaii, Mood Of Era, 1Ø PILLS MATE and Traxx Underground, spanning atmospheric techno, ethereal breakbeat and chunky electro.

‘Ultrasonic’ is an ear-wriggling cut of stripped-back psychedelia. As David Holmes would say, all the best electronic music tracks are made up of only a few components. Here, typical electro synth stabs, robotic vocal sampling and sparse precision allows the track room to breathe, whilst maintaining a deep and funk-driven groove.

‘Ghettotech’ sounds how you would expect it to; pounding kicks, frantic atmospherics and lairy screw-face hype combine on a certified fire-starter, before ‘Exiting The Void’ introduces itself on a footwork vibe that evolves into a sequence of interstellar-dungeon dub-electro.

‘The Rise of the Slavs’ takes its inspiration from the diverse group of tribes who lived in Central and Eastern Europe in the 6th to 10th centuries, establishing the foundations for the Slavic nations; it’s marching rhythm beaming historical context into 21st Century dance music.

Saft's X series signs up accomplished French house artist Pablo Valentino for a new EP that features Patchworks and includes a remix from Seb Wildblood. Valentino hails from East France but his work has made a global impact. He runs FACES Records and is A&R for the cult MCDE Recordings. Next to that he DJs around Europe and has produced both solo and as part of collectives such as Creative Swing Alliance and Hipster Wonkaz for labels like MCDE, Eureka and Room With A View.

Atmospheric opener "Look Deeper" is a rough and steamy deep house cut for cosy basements. The drums are raw and alive, the lead synth is haunting, and the keys bring a jazz feel while vocal coos add some serious soul. French jazz, soul and deep house artist Patchworks guests on "X Rousse", a freewheeling jam with loose-limbed drums and funky chords. It channels the spirit of Moodymann and is sure to bring heat to any party. The final original is "Bagaco"; a bubbly and percussive number underpinned by warm bass stabs. The dynamic groove never rests and raw claps amp up the energy throughout.

Seb Wildblood is a driving force in the South London scene thanks to running Church, All My Thoughts and Coastal Haze. From house to downtempo, leftfield to techno, he has a broad stylistic range that always looks forwards. His remix is a celebratory broken beat workout. It's all about big stabs, soulful smeared chords and cutting loose on the dance floor without a care in the world. Once again, The Saft X

Welcome to ‘STR4TASFEAR, Bluey and Gilles’ second STR4TA album released.

A collection of songs, melodies, grooves and sounds that sit perfectly in the brand new music world it’s part of. Gilles and Bluey are both men who emerged into the Brit funk world. They were both part of this truly thrilling chapter in the story of homegrown music; which manifests itself here in a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices.

And for this new set, they’ve got a few like-minded souls along to join the party. Multi-talented Neo-soul Godfather Omar, and celebrated vocalist, Valerie Etienne, both represent Brit funk’s first bounce. Also welcomed in to the fold is musical polymath, Emma-Jean Thackray, Brighton duo Anushka and Floridian trumpeter/vocalist Theo Croker. ‘STR4TASFEAR’ is Gilles and Bluey’s wide-open window into a timeless, wonderful world of Brit funk (Words by Mark Webster, 2022).

STR4TA has received a rapturous reception, with standout tracks ‘We Like It’ achieving over 1 million streams on Spotify and ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist. They have been heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Most recent singles “When You Call Me” & “Night Flight”, taken from the upcoming album, has already received support from Rampage (BBC 1Xtra), Jamz Supernova (BBC 6 Music), Deb Grant (Jazz FM) plus NTS, Mi-Soul, Solar Radio, KCRW (US), KEXP (US), Concrete Islands, CRACK Magazine, and Nu-Funk (Spotify).

Welcome to ‘STR4TASFEAR, Bluey and Gilles’ second STR4TA album released.

A collection of songs, melodies, grooves and sounds that sit perfectly in the brand new music world it’s part of. Gilles and Bluey are both men who emerged into the Brit funk world. They were both part of this truly thrilling chapter in the story of homegrown music; which manifests itself here in a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices.

And for this new set, they’ve got a few like-minded souls along to join the party. Multi-talented Neo-soul Godfather Omar, and celebrated vocalist, Valerie Etienne, both represent Brit funk’s first bounce. Also welcomed in to the fold is musical polymath, Emma-Jean Thackray, Brighton duo Anushka and Floridian trumpeter/vocalist Theo Croker. ‘STR4TASFEAR’ is Gilles and Bluey’s wide-open window into a timeless, wonderful world of Brit funk (Words by Mark Webster, 2022).

STR4TA has received a rapturous reception, with standout tracks ‘We Like It’ achieving over 1 million streams on Spotify and ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist. They have been heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Most recent singles “When You Call Me” & “Night Flight”, taken from the upcoming album, has already received support from Rampage (BBC 1Xtra), Jamz Supernova (BBC 6 Music), Deb Grant (Jazz FM) plus NTS, Mi-Soul, Solar Radio, KCRW (US), KEXP (US), Concrete Islands, CRACK Magazine, and Nu-Funk (Spotify).

Over the past decade, Vienna-based Florian Stöffelbauer – also known as Heap, has built a consistent reputation as a skilled DJ, producer and Neubau’s label head.

Isla is proud to present his latest effort “False Hope” which explores the intersections between industrial, electro and dark wave – all with a leftfield twist.

As diverse as it is powerful, the 7 tracks featured here almost feel like nocturnal tales, chalking out Heap’s observations wandering through the streets of a silent city, with cigarette smoke permeating the air and sirens ringing in the distance.
The cinematic essence of the release emerges from the very beginning, with the atmospheric beauty “Diall” transporting us straight into some late-80s scenery of Kraftwerkian nostalgia. In “Jetzt Oder Nie” a sharp knit of drums is placed on top of the grave frequencies of the bass: it’s indeed “now or never”, the moral imperative of the release, requiring us to take action.
Throughout the whole album, hypnotic sounds punctuate the dark space, bouncing between the polyrhythmic and uplifting energies of “Inner peace” and “No Palm Too Big”, a sneaky slow-burner with a nocturnal groove and Gayna Rose Madder’s robotic voice reciting the stream of consciousness of this urban wanderer.

“Trist” rises slowly yet powerfully thanks to its mystical synths covering the ground and preparing us for what comes next.
The title track “False Hope” holds the unique charm of a creature effortlessly floating in between dualities. As obscure as it is airy, as delicate as it is forceful, this hybrid composition is rich in details and plot twists.

At the end of this journey, “Losing time” reminds us of the urgency to take action expressed at the beginning of the album. In a rarefied canvas, an off-kilter solitary sound comes in, starting off as insistent as a car horn in rush hour, and evolving into a beautiful instrument arpeggiating the melody.

Here Heap concludes his narrative for now. We like to imagine him walking away, a shadow fading in the smoke of the city as the first lights of the day appear.