Поиск:gu n

Musique Pour La Danse proudly presents "8 COFFINS", an essential collection of original tracks by the British duo Dougie Wardrop (of Conscious Sounds fame) and Nigel Lake as Jungle Neck unearthed from the mid 90s from original masters for all fans of the Jungle Sound. These impressive and mind-blowing soundclash ready weapons feature the deepest analog subs and sharpest drums, killer reggae samples to fit any sound system, and stands out as possibly the only jungle album in the bizness with an innovative and effective live dub production feeling. This unique characteristic makes it even more essential and one-of-a-kind, capturing the raw energy and innovation of the era.



For fans of the peak era of Jungle, with shades of reggae and dub, warehouse raves, heavy basslines and 160 BPM.

Once upon a vibrant night in the heart of the Baltic States, a prodigious artist emerged from the depths of the electronic music scene. Meet Electricano, an enigmatic DJ and producer hailing from the picturesque country of Latvia in Europe.

With an insatiable passion for electronic beats, Electricano has become a force to be reckoned with in the world of music. Drawing inspiration from various genres, he weaves together a mesmerizing tapestry of sounds, captivating audiences with his distinctive style. Effortlessly traversing the landscapes of Dubtechno, Breaks, Electronica, and beyond, creating a musical experience that transcends the ordinary, Electricano's sonic palette knows no bounds.

With each track on this EP, he invites audiences to lose themselves in the pulsating rhythms and soaring melodies, forging a connection that transcends language and borders.

Landing on the shelves September 20, 2024, "All Night" is guaranteed to keep you grooving until the break of dawn!

Death Is Not The End's 333 series continues with this killer slice of digi roots out of late 90s NY, also a big Jah Shaka selection at the time.

Take It Easy was produced by Ricky "Mad Man" Myrie - a reggae/dancehall producer active since the early 90s, and who was also providing writing and production on breakthrough albums for VP from Sean Paul, Capleton & others at this time. Featuring a sharp and poignant vocal from Gumbae Culture, it was recorded at the legendary Philip Smart's Long Island-based HC&F Studio, under the engineering guidance of Smart's brother-in-law and long time studio partner, Michel McDonald. The record's haunting xylophone licks, razor sharp snares and menacing subs perfectly combine throughout the vocal cut, and really come to the fore on the version for a raw and stripped back masterclass in digital dubwise.

Samosa Records dips its toes back into the Afrikano waters with Volume 3 of the Afro themed, genre-busting series and features four deadly tracks from some of Samosa’s most trusted lieutenants.

Breaking the ice as the first track of this exceptional EP is Vincent Galgo and ‘African Rebel’. Mr Galgo has clearly read the brief here – giving us a 125bpm marauder that’s a melting pot of unstoppable horns, furious rhythms and an Afro-pop style bass that is the beating heart of the track.

Track 2 is Samosa regular Frank Virgilio who introduces us to his ‘Mistress’. As a straight up jazz-infused, mid-tempo rhythmic chugger, ‘Mistress’ quickly gets down to the important business of racking up the beats and instrumentation. The generous spread of guitar riffs, assertive bass and organ stabs are expertly lifted by the layered and always rolling drums and bongos induce a trance-like state of mind, so be warned!

On the B-Side Samosa newcomer Casper Leo wears his Tribal heart on his sleeve with the enchanting and utterly captivating jangler - ‘Tom Tom’. You can never have too much Kora guitar and ‘Tom Tom’ has lashings of it, with delicious sprinkles of melodic Marimba – perfect for West African sunsets.

Closing the EP off in style is Afro beats grand master, Lego Edit and the filthy-sexy ‘El Safari’. No other producer can take the essence of the Afro beat structure and bend it to their will like Lego Edit can. Like a late night fist-fight in Club Coco Bongo, ‘El Safari’ punches its way out of the doors. A slinky, wily alley cat of a tune that digs deep with its claws and doesn’t let go and another masterpiece from Lego Edit.

Afrikano Vol.3 has done the impossible and set the bar even higher for this wonderfully diverse Samosa series. We want more. We want ‘4’. With this in your record box, you’ll come with a warning.

Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4 : an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world
at large.

With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper’s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto
almost every track fitting Topper’s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other ‘new’ instrument on the tapes: mellotron flutes.

Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.

Available on black vinyl 10". To coincide with the Brian Jonestown Massacre's North American & Australasian tour 2023 is the release of two new exclusive tracks by the band. Recorded in Berlin & remotely in 2023, the opening track "Abandon Ship (Martian Meltdown Mix)" runs at over 11 minutes and plays at 33 rpm, "Maybe Make It Right." the B side is nearly 4 minutes & plays at 45 rpm. Available at shows but will not be available until the release date. With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), & Uri Rennert (drums) playing on this offering. Emil Nikolaisen (Serena-Maneesh / BJM) & Ryan Carlson Van Kriedt (Asteroid #4 / BJM) on engineering duties. The release comes in a heavyweight PVC bag with the artwork being a J card so you can see the vinyl.

Die "French Touch Collection" ist eine Doppel-LP-Serie, die der französischen elektronischen Musikszene gewidmet ist. Beeinflusst von neuen Musikgenres wie House, Hip-Hop, Techno und den Rave-Partys, beteiligten sich Mitte der 90er Jahre mehrere französische Produzenten an der Demokratisierung der elektronischen Musik. Ihre Musik, die der britische Journalist Martin James "French Touch" nannte, wurde 1996 zu einem neuen, international bekannten Musikgenre, das sich durch elektronische Produktionen und Musiksamples aus Hip-Hop, Funk oder Disco auszeichnete. Anfang der 2000er Jahre erfand sich die "French Touch"-Szene mit einer neuen Generation ungehemmter Künstler neu, getragen von einem rohen, rocknahen Sound. Die 2010er Jahre brachten eine neue "French Touch"-Welle mit sich, die von der Popmusik beeinflusst war und sich mehr auf Melodien und Oneiric Universes konzentrierte. Dieses neue Werk ist dem House gewidmet, mit Künstlern und Tracks, die zur Entwicklung des "French Touch" beigetragen haben: "Bon voyage"!

Mit einer Yamaha-Orgel und einem Traum begann der Südafrikaner Pops Mohamed seine musikalische Reise Mitte der 1970er als Bandleader von Black Disco und schuf eine angesagte Chill-Out-Jazz-Melange mit futuristischen Drum-Machine-Sounds und spirituellen Obertönen. Ihm zur Seite standen die beiden gefragten Sessionmusiker Basil Coetzee (sax) und Sipho Gumede (bass). Mit den polyphonen Beats von Mohameds E-Orgel und später mit einem Drummer ausgestattet, schuf Black Disco in einem Ausbruch von Kreativität 1975-76 einen unverwechselbaren Sound und eine Trilogie innovativer Alben. Das italienische Boutique-Label Afrodelic präsentiert die erste vollständige Reissue des 1975er Debütalbums von den Originalmasters.

Die Musik ist tief in der DNA der Buddha-Bar verwurzelt und hat schon immer eine Schlüsselrolle in unserem Universum gespielt. Unsere musikalische Handschrift, die 1996 in Paris entstand, spiegelt die traumhafte Atmosphäre unserer Restaurants perfekt wider. Subtile und hypnotisierende Mixe, eine perfekte Mischung aus mystischen House- und elektronischen Rhythmen mit afrikanischen, asiatischen, indischen, lateinamerikanischen oder orientalischen Klängen... Buddha-Bar Music verbreitet seit 1996 seine guten Vibes in der ganzen Welt. Dieses dreifache Best Of zeichnet unsere Geschichte von 2014 bis 2024 nach und versammelt von Ravin sorgfältig ausgewählte Titel und Künstler, darunter Buscemi, Sahalé, Desert Dwellers, Kenneth Bager, Ali Kuru, Santi & Tugçe, El Bùho, Troels Hammer, ...

A highly talented artist who has grown to make a notable impression amongst the scene’s most revered tastemakers, DJ/producer and label owner Jhobei is an individual who continues to blossom. His deep, expansive sound has already welcomed material on Up The Stuss, Limousine Dream, Mindhelmet and Picnic Records, amongst others, while featuring as a co-founder of London-based collective and label Bizarre Trax. In addition, his work as one-third of dynamic trio Felon5, coupled with his unique sound, has taken him from Albania’s ION Festival to Los Angeles, alongside making a handful of appearances for FUSE and its sister brands on home turf at fabric, The Cause and Village Underground - plus 2024’s Open Air event at Barking Park earlier this year. Building on that relationship, late September brings fresh music as Enzo Siragusa invites the exciting selector to make his label debut with an array of impressive productions across his ‘Age Of Virality’ EP. A-side opener ‘Swarming’ is all action and kicks things off with authority as a snaking bassline guides a garage-influenced trip through bumping low-ends and hooky vocal samples, while ‘Machine Language’ delivers a mix of playful tones amongst sweeping melodies while delivering a heavy dose of robot funk. On the flip, ‘Defusion Solution’ is a heady late-night excursion through skippy percussion and cosmic tones, with ‘Rising Sun’ stripping things back to deliver a classy, hazy journey as organic percussion grooves unravel effortlessly. Digital buyers are treated to a bonus cut in the form of ‘Kontrol Urload’, a sci-fi leaning cut merging glistening neon synth motifs with punchy kicks and zipping effects for maximum impact.

432HERTZ Berlin Unveils its Hypnotic "Space Collective" Debut Vinyl

Prepare to lose yourself in the world of underground electronic music with the arrival of 432HERTZ Berlin's inaugural vinyl release. This meticulously curated collection transcends genres, weaving a spellbinding narrative that will transport you to uncharted sonic territories.

Side A: A Celestial Exploration

•A1: Computational Universe (Rinaldo Makaj): Brace for liftoff as Rinaldo Makaj's "Computational Universe" propels you towards the furthest reaches of the cosmos. Lush soundscapes shimmer with meticulously crafted synth sequences, evoking a sense of awe-inspiring discovery amidst the celestial expanse.
•A2: Mesosphere (Rickie): Descend into the enigmatic depths of "Mesosphere" by Rickie. A sophisticated bassline throbs like a beating heart, guiding you through a soundscape shrouded in mystery. Evocative leads and atmospheric synths create a captivating soundscape that lingers long after the final note fades.
Side B: Where Electro Meets Soul

•B1: Escape from Reality (Electric City): "Escape from Reality" by Electric City ignites a surge of raw energy, pulsating with the primal spirit of classic electro. This genre-bending track seamlessly integrates soulful influences into a driving electro foundation, creating a sonic odyssey that's both exhilarating and deeply moving.
•B2: Mario's Juice (Pumio Space): The journey concludes with Pumio Space's "Mario's Juice," a sonic elixir that washes over the listener in waves of euphoria. This tranquil soundscape provides a perfect descent, leaving you in a state of blissful serenity.



A Testament to Underground Electronic Music

Curated by Rinaldo Makaj, 432HERTZ Berlin's debut vinyl release is a powerful testament to the boundless creativity and diversity of underground electronic music.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

This album takes you back to Colombia of the 50s and 60s. In those days, the tropical music of the Caribbean and Pacific coasts took over the country's mainland music scene by storm. One of the key figures during this period was Edmundo Arias. Together with Lucho Bermúdez and Pacho Galán, Arias is seen as one of the ‘big three’ composers of Colombian tropical music.

He was a rather introverted person who avoided being in the spotlight at all cost, leading to his work being less known than his contemporaries. With this album we hope to highlight the amazing legacy Edmundo Arias has left us. Think of big bands with sharp dressed musicians playing the finest cumbias, porros and other tropical sounds in fancy ballrooms on a hot evening in Medellin or Bogota.

Liner notes:

Edmundo Dante Arias Valencia was born in Tuluá, Valle del Cauca, on the 5th of November 1925. He came from a family of musicians. His father, Joaquín Arias Cardoza was a band leader and composer who taught his children to play music. Arias learned to play many instruments such as the guitar, bass, bandola (pear shaped string instrument related to the mandolin), tiple (12 string guitar), clarinet and saxophone. He proved to be a very talented musician and together with his father and his older brother Ricaurte he formed the ‘Trio Arias’. The family lived in different cities across Colombia depending on where they found work. When his father died unexpectedly in 1948, Edmundo and Ricaurte had to support their family working as musicians. In 1951, Arias decided to move to Medellín, in those days the heart of the Colombian music industry and the city where the most important record companies and the best musicians were based. It didn’t take long before Arias made a name for himself as a musician, composer, arranger and band leader for Colombia’s leading labels at the time; Zeida, Ondina, Silver and Sonolux. For the latter, he would eventually become the artistic director. Over the years, he wrote hundreds of songs, recorded many albums with his own orchestras or with the Orquesta Sonolux and collaborated with a countless number of musicians, often uncredited.

Together with Lucho Bermúdez and Pacho Galán, Edmundo Arias is seen as one of the ‘big three’ composers of the tropical music of Colombia. But despite the fact that Arias was renowned, very little is known about his personal life. He was a humble man who preferred to work in the background and avoided being in the spotlight at all cost. He declined interviews and kept away from public life. On some live performances of the orchestra that carried his name, Arias asked one of his musicians to pretend to be him, so that he wouldn’t have to come on stage. You might think that Arias was shy or anti-social, but this was not the case. Most people he worked with described him as a very jovial, good humoured person and enjoyed working with him.

His invisibility in public life belied how present he was behind the scenes. If he wasn’t working on his own productions, he was regularly collaborating with other musicians. Arias had his hand in the work of many of his colleagues and was a mentor for young artists. Some even say that in those days all the musicians in Medellín had worked with Arias in one way or the other. He had a strict working regime: composing, arranging and recording at night while sleeping during the day. He was also very productive. The story goes that on one occasion, he wrote arrangements for a 16 piece band in just a few minutes while the band was recording another song. His hard work and productiveness resulted in hundreds of compositions and many records that carry his name.

Edmundo Arias’ career ran over 6 decades until his death on the 29th of January 1993. Over the years, he left us a huge legacy. The songs on this record are a selection of his work during the 50s and 60s. Many see this period as the absolute highlight of his career. We picked out the songs we consider to be the most outstanding recordings from this period. The title of this compilation Guepa Je! is Colombian slang often used in cumbia to express joy or to celebrate. A free translation would result into something like ‘yeah’, ’let’s go’ or ‘groovy’. I guess this title says enough. Enjoy the music. Guepa Je!

how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

Breaking new ground at The Third Room, we are introducing our first full EP by a guest artist, setting the stage for more to come.
Since quantum mechanics arose from classical physics' failure to explain microscopic phenomena, Berlin's exceptional creative mind Arthur Robert pays tribute to the interaction of little entities that can result in the release of colossal power and provide answers for questions older than the universe itself with his Particle Accelerator EP on The Third Room.
Genuine, dynamic techno that defines itself through crisp sound design, memorable textures, and highly compressed, sometimes distorted drum arrangements makes this piece of music a profoundly soundscaped lecture in four classes that gets its final, emotional touch from either melodic compositions or disruptive beeps. Creating those fascinating pieces within fast-paced and hard-hitting club sounds is one of Robert's trademarks, making him a hugely exciting producer.
Out from September 6th and available on all platforms and always remember - the whole is more than the accumulation of its units.

2024 The Third Room
Mastering by Ahmet Sisman (The Third Room Studios)
Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ)

2026 Repress

Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out

On Savor Music 025, we summoned a fine selection of remixers to rework Franco Cinelli's "Tracks from the Vault Part 2."

"Tribute To Miles Davis," where Cinelli merges jazz and electronic elements into a hypnotic sonic journey was reinterpreted by Chicago Legend DJ Jes adding a trippier, loose house interpretation, infusing the track with an extra jazzy twist while maintaining its original spirit. Pablo Minuto & Guillermo de Caminos made a minimalistic take on the same cut, transforming the track into a groovy, hypnotic experience with a focus on rhythmic and atmospheric elements.

"Electronic Funk" original’s pulsating bassline, crisp percussion, and intertwining synth melodies are further enriched in Jorge Savoretti’s remix, which introduces an extra layer of synth action, giving the track’s a deeper interpretation.

Members of Papir & Causa Sui travel through new musical realms. 3 musicians with their own compass: Martin Rude & Jakob Skøtt have shared a wide range of musical quests: from Causa Sui’s “Bitches Brew of Stoner Rock” crossing the folk meditations of Sun River and arriving most recently as members of the pre-fusion electric dealings of the London Odense Ensemble. Papir guitarist Nicklas Sørensen is not merely adding a new layer to an established duo, but his presence to the party have brought it into more meditative dwellings. These pieces move slowly, evolving like the slow growth underneath the ground. Whereas Causa Sui & Papir have always excelled at blistering panoramic and often sundrenched sounds, Edena Gardens take a dive inwards and downwards rather than outwards. But there’s also an electrically charged ecstatic rawness to the dealings. Like Æther, the 10 minute opener’s 2 guitars-and-a-drum kit improv, finding it’s way from tumbling drones into monolithic slow riffage. Elsewhere, we find trails of electronic vapors, misfiring bursts of noise and slow drones stretched out. Edena Gardens is a thing to be experienced first hand - it’s not for everyone, but those who decide to stay are greatly rewarded. It’s a debut unlike any other record on El Paraiso, perhaps unlike any you’ve ever heard. Welcome to Edena Gardens. Tracklist: 1. Aether 2. Sliding Under 3. The Canopy 4. Hidebound 5. Now Here Nowhere 6. Iod 7. An t-eilean Dubh

Waves of Distortion (The Best of Shoegaze 1990-2022) is a superbly curated trip through the genre from the good folks at Two_piers, who have served up similarly excellent collections focussed on everything from French psychedelic pop to garage psych. This serves as both a fine intro and a great retrospective for existing fans that will take you down a rabbit hole and leave you wanting more. Some of the scene's original pioneers feature and there are many a timeless tune here that help to document the subtle evolution of the genre throughout the decades.

"Described by Zimbabwean journalist Liam Brickhill as “a new star in the southern sky”, and by his legendary mentor, Bra Johnny Mekoa, as “the future Jonas Gwangwa”, Malcolm Jiyane is a cornerstone of the contemporary South African Jazz scene. From his teenage years, it was under Mekoa’s tutelage that Jiyane developed his prodigious talents into the multi-instrumentalist that he is today. What Theon Cross is to the tuba, Malcolm is to the trombone, although his ability to embody musical production extends far beyond one instrument. His work thus far constitutes, amongst other works, film score (which he composed as a teenager), and debut album UMDALI (meaning ‘creator’ in Zulu), which was received to universal acclaim, including a 5-star review (and Global Album Of The Month nod) from The Guardian. In 2024, Malcolm Jiyane Tree-O (Tree-O is the name of his band), returns with his sophomore album ‘TRUE STORY’, an exploration of the current state of the rainbow nation through a series of songs inspired by real people and their stories. TRUE STORY releases on 14 June, on digital, vinyl and CD. "

Russian Circles kehrt mit einer Wiederveröffentlichung ihres legendären Albums Empros zurück, komplett mit einem neu gestalteten, geprägten Klappcover, erhältlich auf klassisch schwarzem Vinyl. Empros machte da weiter, wo die hymnischen Riffs und Melodien des 2009er Albums Geneva aufgehört haben, und injiziert noch mehr schleppende Rhythmen inmitten von Schädel-zerschmetternder Wucht mit der ganzen viszeralen Intensität von Godflesh, Swans und Neurosis. Einfach ausgedrückt: Empros ist Russian Circles' Master of Reality: eine radikale Überarbeitung von sowohl Heavy als auch Melodie, die in ihrer Klarheit und Perfektion monolithisch ist. Oder, wie ein einzelnes überlebendes Wolltier, das aus dem brutalen Frost des Winters auftaucht, ist Empros der Sound einer Band, die das Alter von ihren Schultern schüttelt, mit all der brutalen Kraft eines erwachten Ungetüms. Seit jeher arbeiten Mike, Dave und Brian an derselben Statue. Sie meißeln, sie schlagen, sie hämmern auf sie ein. Manchmal mit voller Wucht, manchmal sehr filigran. Die Meister monolithischer Melodien und monumentaler Rhythmen in absoluter Klarheit dargelegt, sind wieder am Werk. Mit "Empros" legen sie wieder ein Stück dieser gewaltigen Statue frei. Und vielleicht gibt es sogar ein paar Überraschungen in den sechs Tracks des Albums. Es gibt Riffs, ja - viele davon. Aber bei Empros scheint die gesamte Band die Verkörperung des Riffs selbst zu sein. "The six-song album intricately blends fat, grisly, discordant riffage with melodic, atmospheric, proggy sprinklings to create a sonically elaborate and raw package." - Premier Guitar

An Italo Disco rarity from 1984 now available again on a
colored 12“ maxi single:

Ken Laszlo - Hey Hey Guy!

On side A we present the rare original versions. As a highlight
on side B you can look forward to two new and exclusive
remixes by Flemming Dalum. This strictly limited colored
vinyl is a tribute to the golden years of the Italo Disco era and
brings the pulsating rhythm and the unforgettable groove back
to the turntable.

Reissue of this italo disco classic from 1984. Comes with Flemming Dalum remixes.

The slow burning project of of producer Bonar Bradberry ( PBR Streetgang , Vyvyan) continues on from its 2022’s hit EP ‘Rivazzura’ and singles on ‘Bordello A Parigi’ and ‘Wrong Era’ . Magari’s dive into to the beating heart of the Rimini Club Scene of the 80’s & 90’s goes deeper….

Side A 'Calling Mick' is the first of the Magari canon that leans slightly towards house but still with all the tropes of a sun soaked Italian coastline and hot summer nights. 'La Selvaggia' is classic throbbing , sultry groove with guitar riffs dancing through the arrangement taking you off in to a lost world 80’s nightclubs. The final track of the Ep 'Alden' is the more downtempoboogie affair that could be as easyily at home in the clubs
of south central LA in ’85 as the beaches of the Italian Riviera. On for Burning hearts and melancholy souls

Buoyant, spirited, and merging the cultural influences of the Ivory Coast, Burkina Faso, and Lebanon, Moaïs debuts on 1432R like a cool glass of water. This EP blends his African influences with modern and informed house traditions, building a sound that’s energetic and timeless. It’s music colored by a longing and loving obsession with the stars and their guiding light, oriented to the DJ, and guaranteed to get the club rats racing.

Unrecognisable” is a story about a city where buildings are used as weapons in a war between the government and the people. The initial chapter, “Eiffel Shard”, was published as an online graphic novel with an interactive soundtrack. It depicts a phone call between Paris Hell and Geneva Heat, two members of the resistance group Unrecognisable. During the call, Paris informs Geneva that a deadly building, The Shard, is now under the authorities’ control. What’s worse — the government also got hold of a secret building transformation plan developed by the resistance. Paris tells Geneva that the Unrecognisables decided to abandon the plan due to the number of civilian casualties it would inevitably cause. A series of intricate explosions would force the building’s glass surface to rip through the surrounding areas, destroying everything in its path and leaving only a pointed metal structure standing: an Eiffel Shard.

The second chapter, “Paris’ Dream”, was performed by Lolina as an improvised gig. Samples from the soundtrack to chapter one accompanied a video showing the protagonist sneaking into The Shard at night. The narrative continues with Paris’ anxiety dream of her time working on the Eiffel Shard project alongside another Unrecognisables member who she fears has betrayed them by handing over their dangerous plan to the government.

The third chapter is now being released as an album of new music. In a declining city, Paris and Geneva are tour guides to be followed at your own risk. Lies and petty crimes, mistrust, betrayal and, inevitably, war are the setting in which they seek to devise a plan for resistance. As members of a secret group, they hide their identities and meet after dark. Under dim lights of city streets and closed-down clubs, it’s hard to tell a dodgy detective from an eager philosophy student, friends are enemies in disguise, and it’s advised to park your car sideways for a fast getaway.

On this concept album, Lolina performs the role of both characters, her own voice often made unrecognisable by pitch-shifts and distortion. It was recorded almost exclusively on a Casio SK-200 sampling keyboard boasting 1.62 seconds total sampling time. No beat preset (total of 20) is left untouched, unchopped or unlooped. Not one of the 49 mini keys is idle. Retains samples when turned off.

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

What lasts a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

REINHARD VOIGT has always placed great emphasis on loving animals. On the track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece either, even if it sounds like it.

We stay in the realm of fauna and turn our attention to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Hallo 24! Schön, dass du da bist. 23 ist ja sowas von gestern, geht gar nicht, echt. Also, bei uns tanzt man neuerdings die folgenden Tänze. Und bei Euch?

Was lange währt, wird meist gut. Schon seit vielen Jahren aus der Ferne TEE MANGO bewundernd, hat sich unser A&R Michael Mayer ein Herz gefasst und ihn zur diesjährigen TOTAL eingeladen. “So In Love” steht in bester Tradition des kompaktschen Minimal Funk der frühen Jahre. Wir freuen uns, den quirligen Engländer an Bord zu haben!

Tierliebe wird im Hause REINHARD VOIGT schon immer groß geschrieben. Auf dem Stück mit dem nicht weiter verwunderlichen Titel “Der, der mit dem Gummiball sang (Orange)” lässt er gleich ganze Horden verschiedenster Vierbeiner und Federvieh ans Mikro. Hoffentlich zieht der Gestank wieder aus dem Studio ab.

Wenn rheinischer Frohsinn auf Urlaubsvorfreude trifft, dann kommt so etwas wie dieses Musik gewordene Hawaiihemd namens “Chee-Caruso” von JÜRGEN PAAPE heraus. Auch für diesen Beitrag wurden garantiert keine Tiere gequält, auch wenn es allenthalben so klingt.

Wir bleiben im Reich der Fauna und wenden uns London’s preisgekröntem Rassehund REX THE DOG zu. “Laika” ist eine herzerwärmende Ode an die gleichnamige Mischlingshündin, die es von den Strassen Moskaus als erstes Lebewesen ins All geschafft hat. Den Bleep hätte sie bestimmt gemocht.

Eine wenig bekannte Tatsache über MICHAEL MAYER ist, dass er zu den schnellsten Kreuzworträtsel-Füchsen links des Rheins zählt, stets in unbarmherziger Rivalität zu Wolfgang Voigt, der sich für noch schneller hält. Der große Battle steht noch aus. Ungebetener Gast mit fünf Buchstaben? “Urian”.

Als fester Bestandteil der Familie darf natürlich auch JONATHAN KASPAR nicht fehlen. “Are You” zelebriert frühmorgendliche Entrückungszustände, wie sie in seiner neuen DJ-Wirkungsstätte, dem nigelnagelneuen Kölner Superclub FI Gang und Gäbe sind. Alles so schön bunt hier.

SASCHA FUNKE verneigt sich mit dem trippy Electrosmasher “The Heck” vor einem der ganz Großen des deutschen Showbiz. Geboren – wie DJ Koze und Barnt – in Flensburg, gestorben 2018 in Berlin, Brillenträger. Mehr wird nicht verraten.

Mehr Gefühl, mehr Liebe, mehr Mitsing-Faktor? Si, claro! ARGIA’s “Love Keeps You Running” vereint meisterlich Groove und Pop – eine Melange, die uns durchaus bekannt vorkommt. Sie mag zwar in Madrid zuhause sein, aber irgendwo steckt in ihr eine Kölsche. Da sind wir uns sicher.

Auf zu den Legenden, den Urgesteinen! JÖRG BURGER zeigt sich auch in 2024 in einem psychedelischen Mood. Das steht ihm, da muss er hin, da wollen wir ihn haben. Es ist ein Paralleluniversum denkbar, in dem solche Musik liebevoll Goa genannt wird.

Der WASSERMANN liest uns vor dem Schlafengehen noch ein Märchen aus Tausendundeine Nacht vor. Wir fokussieren uns gleichzeitig auf einen Punkt zwischen allem, aber auch wirklich allem und dem absoluten, splitterfasernackten Nichts. 3, 2, 1… Loslassen

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

DJ Support: Louie Vega, Ralf Gum, Jihad Muhammad, Zepherin Saint, Mr. V, Doug Gomez DjPope, DJ Beloved & Brutha Basil to name a few.

Sean McCabe’s Good Vibrations Music label opens the vault doors for a peek inside some of its closely guarded & much-loved releases courtesy of this special limited edition 12 inch. Featuring 4 new to vinyl releases & including a raft of luminary names from across the soulful spectrum this is sure to be a be a hot fave with long standing fans of the label.

Glenn Underground’s Jazz-Funk fuelled rework of 'This Place' kicks things off and needs no introduction… heavily supported & much loved through the soulful circles & beyond with the likes of Louie Vega, Dave Lee, Jimpster, Jamie 3:26 & Fred Everything (to name a few!) all loudly banging the drum – people have been clamouring for this to be on vinyl. You spoke, we listened!

Up next is 'Modulate', a collaborative force of the highest order between Sean & long-time friend Black Sonix. Expertly fuzzying the lines across Deep, Soulful & House is somewhat of a speciality for the duo respectively and there’s bags of all 3 intertwined throughout alongside a hefty sprinkling of sun-kissed, Latino-inspired pianos.

'Still Standing Here' kicks things off on the B-side and begin in March 2022 as vocalist Madeeha recorded an accapella vocal idea in a phone voice message, quietly singing into her phone to avoid waking the neighbours. She sent the idea to drum & bass producer from Bristol, DJ Mixjah, who then approached friend Sean McCabe with the idea. Together they produced a hypnotic afro-tinged soulful backing track to fit with the voice message, with an intention to re-record it in a studio environment. Sean and Mixjah soon realised that the music they had created blended perfectly with the sincerity, intimacy & rawness of Madeeha's heartfelt performance in the original voice message and decided to stick with it. A firm fave for Atjazz, Crackazat , DJ Spen & Emmaculate.

Wrapping things up is 'You Don’t Know', a slick & energetic dancefloor bubbler from London based producer/DJ ‘David Bailey’ and Canadian soulful songstress ‘MissFly’. David Bailey is a firm favourite amongst the London house music community. He’s produced standout releases on labels such as Idris Elba's 7wallace, Makin Moves, Good Vibrations Music, Rhemi Music & Unquantize. MissFly is known for her soulful serenades and ability to write songs 'on the fly' in the studio. She has carved out an impressive discography on soulful house nuggets such as '1972,' 'Wanna Love You' and 'Thankful'

''Sugar'' is the first work of the italian disco-funk band Le Dune, a new project led by Francesco Fisotti. The electronic drums and synthesizers blend with groovy bassline, sparkling guitars and pop-oriented vocals. In addition to the radio version, in the "Extended Mix" more space is given to the groove, the instrumental version is more percussive and tribal, in the end "La Notte Mix" is a late 80s proto-house edit co-produced by Issam Dahmani. A 12inch vinyl don't mis it !

Brixton based polymath Simon Jefferis has been setting mouths ajar with his expertly crafted, atmosphere-heavy beats over the past few years. With his reputation as both a talented instrumentalist, and adaptive producer steadily circulating through the city’s hip-hop undercurrents, 2020 sees Jefferis return to rising label DeepMatter with his debut LP Vibrations.

From the golden era energies of ‘Back 2 Ours’ featuring Austin’s Abhi The Nomad, through to the silky-smooth melodies of ‘White Rabbit’ (featuring the incredible Rosie Lowe on vocals) and shoulder swaying rhythms of ‘Something In The Water’, ‘Vibrations’ is an expertly crafted production masterclass from start to finish. With ease, Jefferis demonstrates the breadth of his musical capabilities, turning his hand to guitar, keys, drums and bass (with a little help from his friends along the way) with incredible results. Head nod inducing beats, jazz infused keys and interweaving make this a standout record amongst the already sonically rich London jazz scene.

Tomi Ahmedeus is an Artist originally hailing from south London's Champion Hill estate in Camberwell. His debut EP God Iz Enough is a five track sonic vignette which takes you on a poetic but succinct soundscape, lending itself to an astute yet playful choice of sampling and production references from 70's soul to 80's house music.

God Iz Enough is truly an immersive journey into the deep and diverse cadence Tomi Ahmedeus chooses to swim in. His debut extended play has been mixed and mastered by Grammy award winning engineer IRKO who's previous works include DONDA by Kanye west and The Roots, streams of thoughts.

For the second edition of Speciale, we fly to Basel, Switzerland.

It is a pleasure to share this EP with Ben Kaczor, an artist already engaged in managing his label KCZ/CZT, releasing on Dial Records, and performing all over Europe.

Ben presents two dark and hypnotic tracks that defines his deep musical taste characterized by hypnotic grooves and synths soundscapes together with melancholic basslines.

The other two tracks are produced by Orion.

Imagine this record as a single entity: a journey into a dusty club where grooves and melodies guide you towards dawn.

This time Orion Records returns to club music to define their vision of Techno.

We take the same and start again
A winter week at One Buck studio, 4 musicians. Ocman Dread and Ras Salam once again call on Jolly Joseph and Dr Charty to accompany them on guitar, bass, keyboards… The recordings of this session do not suggest the negative temperatures and the frost outside, the riddims are sunny and sound warm. Pinnacle Sound’s 5th album is in the wake of the previous ones, roots that make you smile.

Breath is life
The rest takes place at the Bat Records studio. The Dub Shepherds refine these takes where breath and grain mingle, in search of the authenticity that has made Pinnacle Sound special since its beginnings. With the help of vintage machines and magnetic tapes, the album takes shape and begins to take shape.

Many guests
Another Pinnacle Sound trademark, numerous guests behind the microphone are present on this disc as on the previous ones. We find the essentials: Marcus I and Jolly Joseph, to which are added new voices, like Payoh SoulRebel who opens the album with the unequivocal “Downpressure”: we are here to have a good time! Big news on this album, the presence of female voices! The trio The Steadies delivers the brilliant “Thank You”, and Nina Murple signs the ballad “By The Train”.

You will have understood, Pinnacle Sound unveils a rich and generous new album, 10 tracks from the most kitsch to the most profound, which will leave no one indifferent.

2024 repress.

Daniel Monaco is a musician who defies definition. An artist who is as comfortable strumming a bass as he is bending waveforms on his synths, this is a creative that guarantees something unique. Tu Sei Pazza more than meets that guarantee. The title track is an instant classic.

Soft burbling basslines float around a steady kick before daring brass sections are punctuated by scaling xylophone lines. Somewhere between late 70s lounge music and strikingly modern disco, this piece will put a smile on any face. Whodamanny lands on the flip and takes the original to moonbase five via Studio 54. Tempos are reduced as a path of cosmic laser-funk is taken by the amazingly versatile Naples producer. A cracking close to a 7” that packs a real punch.

Formed in Edinburgh in 1992, The Kaisers set out to bring the excitement and joi de vivre of the early ‘60s beat era back to the Scottish music scene. Armed with junk shop guitars and tiny amplifiers, they quickly gained a reputation as one of the country’s most exciting live bands, belting out forgotten rock ‘n’ roll gems and their own period-perfect compositions with unsurpassed rawness. As their fame spread, they were soon firing their beat salvos at audiences from America to Japan. The broadcasting authorities took notice and radio sessions for John Peel, Mark Radcliffe and many others followed, both at home and abroad. The Kaisers released seven albums plus many singles and EPs – all on vinyl and always in mono. One EP was recorded during a particularly wild night at New York’s famous CBGB. Although their records featured plenty of the good-humoured sonic violence that their fans craved, heartfelt yet visceral ballads were never off the musical menu. After a 13 year hibernation, The Kaisers returned to the stage via the festivals circuit and continue to appear at festivals across Europe. The resurgence of interest in the band has led to the writing and recording of a brand-new album ‘More From The Kaisers’, due for release on the 28th of June, 2024.

The initial release from Washington DC based Enman Recordings is a hypnotic deep groover centered around an evolving synth lead that builds to create beautiful tension. The remix is helmed by none other than Parisian House legend, Franck Roger. His remix has his signature bounce, guaranteed to lift any dance floor! The Bside No Accident is a tough dance floor banger with carefully selected jazz horns and spoken words from one of the icons of jazz.
The EP closes out with Fall In, a stripped down house groover with heavily saturated drums. It adds beautiful piano samples and vocals to lift the track. Great for getting those dance floors warmed up.

Golden Haze Vinyl. After being long out of press (with the exception of a small, instantly sold- out pressing in 2018 to celebrate Captured Tracks' 10-year anniversary), Golden Haze is finally back on limited edition Gold vinyl!The charming and gorgeous Golden Haze EP is the culmination of Wild Nothing's (Jack Tatum) sound in 2010. Fresh off the heels of breakout debut album Gemini, Golden Haze has become a true fan-favorite of Tatum's cata- log, and an enduring fixture of Wild Nothing's live shows across the world. The tracklist features the previously unavailable Evertide EP, a Gemini B- Side, and now, for the first time on vinyl, includes bonus tracks "Asleep" and "Vultures Like Lovers."When Golden Haze was released in 2010, the EP filled with melancholy vocals over addictive guitar riffs offered a perfect continuation to Gemini. It also re-revealed that Tatum has a knack for creating unique, modern ar- rangements based on decades-old influence. On Golden Haze's single of the same name, tweaked drums and a "textural mesh of severely-gated snare and sleigh bells" evoke 80s bands like The Cure. "Vultures Like Lovers," a newly available track on vinyl, presents delayed guitars with tremolo'd vocals. The most different to Gemini, it revealed that Tatum could make more "electronically pulsed" songs with echoey, hollow vocals. Over 10 years later, Golden Haze continues to prove Tatum's ability to create new songs while evoking a musical nostalgia for the past.

Very Tall marked the first recorded collaboration between Oscar Peterson and Milt Jackson. The two musicians were both highly regarded and successful jazz figures by 1961. Peterson had recorded innumerable albums with his own trio and backing such stars as Louis Armstrong, Lester Young, Ben Webster and Billie Holiday, to name just a few. Jackson had played with most of the great names in modern jazz and had been a founder of the Modern Jazz Quartet. Very Tall features Jackson as an added member of the legendary Peterson Trio with Ray Brown and Ed Thigpen.




d b1 JOHN BROWN’S BODY BATTLE HYMN

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Produced by Nicolas Duvoisin on his label, this new vinyl-only edition may not leave your turntables for a while. On the A-Side "Fused (Original Mix)" is a perfect combination of loud beats, a heavy bass line and repetitive sounds, and when NTFO tackles the remix it's to bring its melodic touch.

On the B-side, "Stickers Men (Original Mix)" speeds up the BPM with a catchy rhythm while Nima Gorji delivers a more tortured remix of this track.

EARLY SUPPORT : Nu Zau - NTFO - Primarie - Cesar vs Disorder - Brizman - Floog - Jay Bliss - Johnny D - Christian Burkardt - Lauhaus - Cosmjn - Chris Wood - Octave - Brizman - Ikako - Giorgio Maulini - Kid Moss - Guedes - Nils Hess and more

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

DJ Support: DJ Support by Spiller, Alex from Tokyo, Coyote, Fango, Pete Gooding, Ally Tropical, Steve Cobby, Gold Suite, Luca Averna, Will Nicol, Danilo Braca, La Guardia De La Luz

Federico Costantini aka Luminodisco is back on Hell Yeah having long since assured his legacy with the label. Over the years, the Italian has dropped many cult and still widely played cuts here from across the disco-sphere ('Ragazzini,' 'Diavolo di un Disco,' 'Oh Mary' and more all still bang) and now he is back with a newly moved sound. A compulsion to produce something with "a more adult approach" is what defines this latest era, and a fine one it is too. Opener 'Solero' will surely become as revered as those classics above with its irresistible grooves guaranteed to bring ultimate dance floor satisfaction. The punchy drums are peppered with percussion and drum fills while gloriously sugary chords add the heat and wispy pads take things into cosmic realms. 'Jazzclub' is an unhinged rhythmic interlude that chops up vocal stabs, screwy synths and whirring machines into stomping brilliance then 'Bigfoot' slows things to a dubbed out crawl that has you gazing at the twinkling star-like synths. Things then get wonderfully wild on closer 'Soko', a jumble of percussion and tribal vocals over swaggering drum loops. Playful leads bring the sun as the dumpy bass plods on, pixel thin pads squirm all around and a celestial carnival in the sky plays out with irresistible charm.

Make The Ting is a project born out of my writing on creativity that lives online as post it style notes known as the ‘Yellow Squares’ found across Instagram and Twitter. The first square was posted on July 31st 2021, as covid-19 restrictions were lifting in the UK and I was thinking about what the music scenes and wider creative communities are after 18 months of lockdown. The idea’s developed into lectures presenting them in real life, but the platform felt right to explore my own creativity more broadly to challenge my own ideas in real time. My history as a DJ, Label Owner and Promoter in the Grime scene wasn’t at the forefront of these ideas, but I wanted to reconnect back to the ecosystem that inspired and gave me a creative career in the first place. Blay Vision’s ‘Cammy Riddim’ in the summer of 2022 inspired an idea to translate the ideas in the squares into song form. I approached Grime MC Jammz about the idea, and the first song ‘Yellow Square’ was done with the core principles that I had written about so far. 6 months passed, and while on a Muay Thai retreat in Thailand in February 2023 I thought about expanding the musical side of the Yellow Squares further. I text Jammz about turning this idea into an album, that we make as quickly as possible using my writing as a guide, and his voice and creativity to turn them into songs. We gave ourselves two weeks, set up a shared notes in iPhone did two zoom meetings, one phone call, exchanged messages on iMessage and he wrote 7 songs in a week, then recorded them all in one day at Ten 87 Studios in Tottenham, London. Jammz wrote all of the songs to one of his own beats, then we selected the final instrumentals we liked that we thought fit the ideas from both our camps the day before recording. The speed forced our hands creatively and it would have been a completely different project if we worked on it for months. Time is the creative director. Albums don’t have to be blockbuster projects with big budgets and huge campaigns behind them. Albums are just collections of ideas. Removing the pressure of trying to make a perfect one meant it got done and released with the least stress possible. Even the business of the album took 5 mins to handle. An equal revenue split on each song between me, Jammz, and the producer. Everyone gets paid quarterly into their own account automatically by our distributor. On announcement of the album in March 2023, we released the acapellas, for people to do their own versions, before most of the original songs had been heard by anyone. We encouraged people to Remix The Ting, and I did custom artwork for everyone that sent me a complete remix before the album came out on the 30th June 2023. The front covers are drawn individually by me. I wanted to make the record an extension of what I do with the yellow squares themselves and capture the energy of where my head is at in 2023. If it’s blank, it’s space for you to draw your own yellow square. Maybe what you think about the album, what it’s inspired for you, or just a snapshot of where your creative brain is at on the day you are picking up this record. This could be the first of many albums, this could be a one off. Nobody knows what is going to happen next. It all may make sense in the end – Elijah

“Valsadeira” is a pulsing uptempo excursion from the African island nation of Cabo Verde, with driving percussion, impassioned vocals, and tasty synth work. Sung in Portuguese, the track begins on a romantic note which builds toward a dramatic flip halfway through that gives way to a hypnotic tropical vamp. The drum tool extends the rhythmic breaks of the song into a useful standalone percussion jam. Odo Kakra Sika Kakra is a bouncy and joyous slice of Ghanaian highlife. With crisp 90s-era production and sweet vocal melodies, JKriv edited this one with love for maximum booty shaking and smiles. "Batonga" is a mid tempo slice of Afrofunk with a mid 1980s downtown NYC feel, led by angular and funky guitars, layered synths, and a female vocal with African chants. The drum break features a textured beat including big electronic drums, percussions and an interlocking kalimba line.

Although all three tracks offer the listener valuable insight into the level of music production ingenuity that was going on in Japan at the time, it's "Electric City" that really stands out as an unmistakably unique dancefloor track, where the then teenage female vocalists from Shohjo-Tai are left out and a galloping 120BPM beat sets a blank canvas for a number of unexpected elements to present: completely unorthodox accents in a wide range of unidentifiable sounds, a very enthusiastic electric guitar solo, the Ennio Morricone-esque Spaghetti Western vocal moments, all of which get contrasted with a blissful chorus that reminds one that this is somehow still a collaboration with a Japanese female idol band from the 80s. A hard track to forget even in the less sober dancefloors, it is no surprise that it would be a fundamental secret weapon in the repertoire of diggers such as Dea Barandana. Can't go wrong, buy on sight. Remastered with new artwork.

Benny Howell (aka DJ Subaru) is a UK based producer, DJ and overall promoter of good times who's undoubtedly propelling a new generation of music appreciation with an honourable respect for the earlier beginnings of club culture. Benny Howell might also be the pioneer of a new post-Brexit Eurodance genre, with "Surrender", a catchy Pop oriented production with strong influences from Italodisco and HiNRG, written and produced entirely from scratch with best friend Bella Quirin who co-wrote the lyrics after a break up with her ex. Innocent and charming lyrics over 120's BPM drum machine and a simple melody that you'll be humming in the back of your mind for days to come. Equipped with a Yamaha TX81Z, a few guitar pedals and a makeshift bedroom studio, "Surrender" is the product of a dear friendship between the two music lovers, as per Benny's recount: "Bella came and sung on the track in my bedroom during one of the gaps between Covid lockdowns after I asked her at the pub if she knew any singers and said me of course, and we went from just friends to best friends."
The remix on the B-side by Castro takes a darker turn into what almost sounds like a Techno version with heavy dubbed out effects taking the "Surrender" theme through an unhinged Ketamine flanger vortex. Full cover artwork and mastered at Manmade mastering in Berlin.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

Bordello Travels presents the fifth volume of ‘Buone Vacanze’ with your tour guides Karassimeon, Nude Disco, Maltitz and Lennart. Comes with a limited edition gelato sticker sleeve. Andiamo!

Bristol's cultured Innate label is back with a first outing of the year and it returns to their various artists format with a mix of talents all making their mark. UK veteran Tom Churchill opens up with 'Unknown Unknowns (Edit)', which brings plenty of fuzzy and lo-fi aesthetic to jacked up drums and spaced-out pads. Rai Scott then shows her class with 'Suasion' that sinks down deep into immersive drums and is subtly lit up with simmering strings. Innate co-founders Owain K and Gilbert then hook-up under their brand new alias Curved Space and showcase their love of electro with 'Reverie,' a dreamy cut that glows with nice celestial melodies and will have dance floors in a zoned-out state. Last of all it's Lisbon mainstay Jorge Caiado who debuts with the chord-laced 'Floating Without Lifting,' a sophisticated and serene jazz-techno cut that takes you to the stars.


DJ Feedback

Richard Sen:
"Lliking the Tom Churchill and Curved Space tracks. Will try and fit them into the show and in the club."

Laurent Garnier:
"A lovely EP indeed!"

Jayson Wynters:
"This is a great release. Nice varied tracks for different moods. Will certainly be playing this."

Anna Wall:
"Lovely VA! Thanks so much for sharing :) Faves are Jorges track and Rai Scott. Really beautiful music!"

Ewan Jansen:
"Great listen mate - a good gang assembled too."

DJ Guy:
"The EP is gonna be incredible..."

Orlando Voorn:
"I like em all!"

Moy:
"This is another really wikid V/A!"

Hizou:
"Thanks a lot, so good music here!"

Appleblim:
"I love the Tom Churchill - very detroity and deep, beautiful!"

Baldo:
"Thanks for this release, I love your track with Gilbert and also Jorge's! pure class!"

Alex Attias:
"Sounding dope! I’m feeling this great ep, thank you so much."

Chris Duckenfield:
"Many thanks for sharing, it’s a strong EP for sure. B2 probably my immediate fave."

Adam Shelton:
"Wicked release! Love all tracks, thanks so much."

Alien Communications:
"Love the EP, really like all the tracks but your own, Reverie, is definitely the strongest for me."

Dan Curtin:
"Sounding so lush...really really great. "

Vine Watson:
"Sounding great!!!"

Precious gems mined from a wall of vinyl. Cut, polished and mounted for maximum love

After his highly publicized breakup with Taylor Swift at LA’s Viper Room ,Iain Howie returned to Vancouver.

Taylor released “Bad Blonde Boy”, a breakup song about Iain and Iain quickly rebutted with “ Patterns” about Taylor.

He began working on his solo album and got a remix of Patterns by his shady neighbour “Jay Tripwire”. Partly because of the fact Taylor could never stand Tripwire.

Over the course of a year Tripwire churned out 10 different remixes for an alternative vinyl only release. Jay would have his friend Anton play various remixes from his hot dog cart in Bucharest.

One early morning it caught the ear from Cally. Cally had only intended to buy a foot long Frankenfurter after Guesthouse, but he was so captivated, that he asked Anton for a cassette tape of the song. Most Romanian DJs often look to Anton’s hot dog cart to find obscure unreleased gems.

Cally began his closed door ritual of compiling songs for closing Sunwaves that year. When getting his tea leaves read, his spirit guide advised him on using “Patterns” as the closing song to the festival.
Whether it was the come down from drugs or low serotonin, SW attendees could be seen crying on the dance floor during the song.
The tears were then collected and drank by Raresh

DJ Support: Marco Faraone, Victor Ruiz, Marco Carola, Cristian Varela, Joseph Capriati, Mauro Picotto, Ilario Alicante, Wehbba, Konrad, Anna Tur, Joris Voorn, Anna Reusch, ANELA

Indira Paganotto and her ARTCORE imprint stand out from the crowd with an exponential sense of uniqueness, front-running pioneers of the new Psy-influenced techno boom. Indira’s upcoming release ‘Gypsy Queen’ is another perfect example of how she has garnered so much love and support for her unique vibe and ethos to date.

Title track ‘Gipsy Queen’ begins in eccentric fashion. A gentle strumming of flamenco guitar lines, a distorted chorus of castanets and an enchanting vocal open the track to remain a key feature throughout waves of razor-sharp synths and hurtling drums sequences. The dips in pace are beautifully accompanied by the stirring vocals but before long the flamenco influences are overrun by the trance-tinged techno Indira is famous for. The out of body like energy summoned by the strings and haunting effects of ‘Vendetta’ offer a different audio experience to that offered by the EP’s title track. With a visceral intensity that becomes more acute following each drop there are several curious effects and tones at play to make for a somewhat dramatic techno heavy melody.

Opening the flip side is ‘Heaven Is For Warriors’ , this comes in hot with thumping drum grooves and crisp percussive drive, supplemented by ominously celestial undertones and rave-inspired musicality throughout-a sinister tirade of punchy electronic grit, marching to a racy tempo built for peak-time sets. The release closes on ‘Requiem’, further playing on the darkened divine theme throughout the EP. Beyond its atmospheric intro, you’re greeted with a marauding flurry of watertight Techno goodness layered with synths, sirens, pads and much more.

There’s no denying Indira’s oneness when considering groundbreaking techno talents; This EP serves as a solid reminder of her commitment to trailblazing a path into the genre’s new and exciting age.

Bread & Souls is a new project dreamt up by Italian entrepreneur and music lover Franco Fusari. Franco invited Mark de Clive-Lowe on board to direct and produce an album of collaborations with some of our favorite artists including the likes of Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, Tommaso Cappellato and more...

Opening with the broken beat, soul-drenched I See You featuring Detroit’s Paul Randolph on vocals along with Taku Hirano on percussion Chapter 3 is here! Vanessa Freeman and Bembe Segue absolutely radiate on the head-nod of Little Did I Know, complete with Marcus Machado lacing classic D’Angelo-meets-Prince guitars. You heard the Domu remix on Chapter 1, and finally here’s the original! The EP wraps up with two remixes courtesy of Alex Attias and LTJ Xperience. Alex reworks the Bembe Segue featuring Never Gonna Leave into a deep tech house dancefloor workout while Italy's LTJ Xperience’s remix brings the mid tempo 4/4 to Rich Medina and Bembe Segue on Working On It (original version still to come!).

Musician, composer, bandleader and musical rubik’s cube, Laurent Bardainne is a saxophonist who trained at The Paris Conservatory.
He’s collaborated with Pharrell Williams, Cassius and Philippe Katerine to name just a few and presents here his latest project, ‘Tigre d’eau Douce’ Also co-founder of electro rock band Poni Hoax (Tigersushi Records), Limousine, a duet with Camelia Jordana and more recently Sabrina & Samantha for Ed Banger. This album, sees a return to his first love of jazz, The Tigre d’eau Douce, represents a species doomed to disappear. So using melodies, chants and solos as an escape guide, his tenor saxophone takes us to a higher place,
one where John Coltrane and the great figures of jazz reside. These LP tracks bounce between the grooves and soul of the 1970’s, where
percussion and saxophone pave the way. ‘Marvin’ allows the fluffy keys of the Hammond organ to open out into a pensive melody that feels familiar. Carrying on the journey, the tough asphalt of hip hop is visited on tracks like ‘Bachibouzouk’ and ‘Felin M chant’, whereas more tropical themes are explored on tracks like ‘Kinshasa’.

A vibrant kaleidoscope of sound, colour and emotion, British multi-hyphenate James Alexander Bright's new album 'Cool Cool' is set for release on 26th July via Athens Of The North. A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers span 10 songs that soundtrack fertile daydreams, esoteric dancefloors, languorous reflection, and wild excursions in nature and beyond. James' voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead on this new record. Whether tenderly caressing on the title track's beautiful soul minimalism or deployed passionately on boogie machine 'Straight Line'; it's an immediately recognisable signature. Impressive multi-instrumentalism sees him perform on guitar, bass, keys, programming, percussion, production and myriad quirky effects; across song subjects that cover searching for truth, imagining the distant future, teen nostalgia, relaxation exploration

Jose James has showcased his rich and graceful baritone voice through a series of unpredictable projects that have blurred the lines between traditional and contemporary jazz, soul, funk, rock, house, and other genres. Now, with a new collaboration on the "Saturday Night" remixes with Grammy winner Louie Vega, Jose proves his versatility and variation in his unique vocal ability, able to adapt to all types of grooves with ease. "Saturday Night" is a feel-good summer song penned by Jose James himself and seasoned songwriters/Grammy winners Talia Billig and Kaveh Rastegar, who have worked with Moby, Aloe Blacc, and Bruno Mars, to name a few. Taking it to the clubs, as we say in nightlife, Jose takes us on the dancefloor once again all around the world! Enjoy the Louie Vega remixes with long versions of each interpretation and the hot guitar dub on Vega Records, with license courtesy of Rainbow Blonde Records! Available at all digital outlets and a vinyl double pack coming to you early summer 2024!

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

2025 Repress

Raffaele Attanasio drops his first EP for two years as he heads to SHDW & Obscure Shape's Mutual Rytm for his 'Quasar' EP.

A product of Naples' rich techno history, Italian DJ, producer and musician Raffaele Attanasio is an artist who represents the city's iconic sound while drawing from influences across the Atlantic and the genre's home of Detroit. Garnering plaudits from artists including Jeff Mills, Len Faki and Ben Sims, while releasing on Mills' Axis alongside Non Series, Third Wave Black, and his own Letter From Jerusalem imprint, Attanasio's eclectic sound now delves into Italian techno of the early 2000s as he makes his label debut on Mutual Rytm - revealing his first EP in over two years and showcasing a new side to his sound with 'Quasar'.

Title track 'Quasar' brings a tunnelling groove beneath floating melodies and zipping synths, before A2 'Asterion' combines dubby stabs and punchy kicks effortlessly. On the flip, 'Blazar' is a squelchy acid-led trip guided by sharp metallic hats, with 'Axial Inclination' utilising jittering drums and slinking bass to keep the energy levels rolling.

'Clara' shapes up the physical package, a skipping, spirited and classy cut fusing hazy textures and crisp percussion, while digital exclusive 'SGR' sees things return to acid territories, with purchasers able to access a darker impactful take on techno.

Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.

Anonymous British funk studio outfit Ultrafunk was spearheaded by Blues & Soul magazine proprietor John Abbey, who ran a fashionable record shop and label called Contempo in London’s West End during the 1970s; he conceived of the group as the UK counterpart to US studio bands like Mfsb. Arranger Gerry Shury, who had worked with Barry White and Maurice Gibb of the Bee Gees, drafted guitarist Chris Rae and bassist Frank McDonald (who often composed library music together) and future Rubettes drummer John Richardson to form the group, in situ. A lack of band photos, suggestive song titles and a predilection for American cover tunes led many to believe the band was US-based. Their self-titled debut LP is where the myth all begins, with a number of truly atmospheric and cinematic hard funk instrumentals, given added textural depth through full orchestration, including covers of Bill Withers’ “Use Me” and Stevie Wonder’s “Living In The City.” Though not quite as compelling as the better-known follow-up set, Meat Heat, there is still plenty to savour on Ultrafunk, making this debut companion disc a must-have for all true funk aficionados.

‘Danse Cette Zik!’ by Parbleu is the debut LP from this enigmatic group of musicians and is a multi-cultural fever dream, wherein energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. Evocative instrumentals intertwine with breathtaking vocal performances, which move between sleepy-eyed soul serenades, mystical melodic chants, and expressive diva enchantments while pads swell in support—sometimes sparkling like ocean glass, other times raining down like a Morricone symphony.

Pianos and guitars converse via funk flourishes, reggae riffs, and jazz rock solos as blazing fusion synthesizers set the air aflame. Drums move between kinetic dancefloor urgency and islander rhythm relaxation and hand percussions both organic and electronic evoke rainforest ceremonials while basslines revel in 70s fusion fire and Italo synth-funk squelch. And the entire experience has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio, resulting in a thrilling adventure of imagined exotica, one equally adept at scoring coastal paradises, filmic deserts, riviera cruises, or nightclubs sweltering in the light of a mediterranean moon.

(Words by Octagon Eyes)

Anaconga”, the fourth Dome album by Bluey and Citrus Sun, is an homage to jazz and soul greats from back in the day, and is the band’s first to be released as a gatefold 2LP.

The album opens with the gorgeous Maynard Ferguson tune “Mister Mellow” from the Seventies, with backing vocals from Tony Momrelle and Deborah Bond. Bluey and Richard Bull share the production . “Down For The Third Time”, the album’s lead single, is a deliciously funky remake of a classic Bobby Caldwell groove from 1978, with Natalie Duncan on vocals and Dominic Glover and Charlie Allen tearing it up on trumpet and guitar respectively.

“Mystic Brew” was originally written and recorded in the Seventies by funk, soul and jazz keyboard legend Ronnie Foster and Bluey includes it “to say thank you for his massive contribution to the music we love and are inspired by”. Erykah Badu’s “Honey”, also with vocals by Natalie Duncan, features beautiful trumpet and flugelhorn from Kevin Robinson.

The stand-out new songs on the album are “Santiago”, which features the young Indonesian harmonica player Rega Dauna, who starred on the band’s “Hard Boiled” instrumental hit from their last album “Expansions & Visions”, and “In Search of the Blue Note”, with Dominic Glover on flugelhorn and Graham Harvey on keyboards, which Bluey says is “inspired by New York City’s jazz history and nightlife”.

Bluey sums up the mood of the album: “I hope that the rhythms wrap themselves around your consciousness and the music slithers into your soul, whilst you bask in the light of the Citrus Sun! Unconstricted love, Bluey”.

Citrus Sun is the mainly instrumental-oriented side project which runs alongside Incognito and features many of the same musicians. The band released their first Dome album “People Of Tomorrow” in 2014.

If you're looking for some summer fire from the Soul-Funk-Disco world then look no further than this new from Micky More & Andy Tee. Groove Culture Bosses teamed up with Angela Johnson and Dj Meme Orchestra for the cover of the classic Rose Royce's song 'Is It Love You're After'. Strings, Horns, synthesizers, guitars, bass etc... All here is played live, more than twenty musicians worked on this project. 'Is It Love You're After' is a track that contains the beauty and the essence of Soul-Funk-Disco: Instrumentation and vocals of the highest level. Package sees Legendary New York City DJ Danny Krivit providing a dj-friendly edit for the dancefloor plus a housy Mix From Da Lukas. A MUST HAVE!