Suche:hi rhythm

DJ Support: Carlita, Dar Disku, Disco Arabesquo & Moving Still

Melbourne-based producer Rami Imam unveils Safara, the latest release on his own label, Ponda Records, which he founded in 2020 as a platform for his cross-cultural sound explorations. Drawing from the rich traditions of the Middle East, North Africa, and the Mediterranean, Safara is a six-track odyssey of energetic and euphoric house and disco house, deeply rooted in both nostalgia and innovation. Safara is the culmination of Imam's immersion into the golden eras of global music, channelling the soulful rhythms and melodies of Afro-Funk, West African Highlife, Arab Disco, Bollywood, Afro-Cuban Jazz, Libyan Reggae, and Algerian Rai. By blending these timeless influences with a modern, dancefloor-oriented focus, Imam creates a sound that is both steeped in history and refreshingly new.

With a sonic palette that includes iconic synths such as the Juno 106, Super 6, SH 101, Moog Model D, and the 303, Imam weaves the analog warmth of these instruments into lush, modern productions. Piano and strings—his favourite classical instruments—add an organic layer of emotional depth, connecting the pulse of the dancefloor with the timeless elegance of traditional composition.

Safara is more than a collection of tracks; it is a journey across continents and eras, where the pulse of the past meets the driving force of the present. Recorded in Melbourne but influenced by sounds from around the world, Safara invites listeners to traverse vast musical landscapes—from the hypnotic grooves of North African rhythms to the sun-drenched melodies of Mediterranean shores—culminating in a transportive experience that lingers long after the final beat fades.

By balancing the ancient with the futuristic, Imam has crafted a record that feels both comfortingly familiar and daringly innovative. Safara is a testament to the endless possibilities of blending cultures, genres, and eras into something that is not just heard but felt—music for the soul as much as for the dancefloor.

Bringing new life to the electrifying sounds of Peru’s golden era of cumbia, *CHICHA POR FAVOR Vol. 1 is a highly anticipated limited edition vinyl release, featuring 12 rare tracks from the historic El Volcan label, known for its groundbreaking cumbia in the highlands of Cusco, Peru. This curated collection, spanning the 1970s and 80s, delivers listeners an immersive sonic journey into the heart of Peru's tropical music heritage.

For vinyl collectors, cumbia enthusiasts, and aficionados of Latin American musical history, this album is a rare treasure, packaged with an exclusive insert detailing the cultural origins of each track and offering in-depth insights into the socio-musical evolution of Peruvian cumbia. This release is the inaugural volume of CHICHA POR FAVOR, a project aimed at preserving and celebrating the defining sounds of Peruvian tropical music.

The tracks featured in CHICHA POR FAVOR Vol. 1 offer a uniquely authentic perspective on Peruvian cumbia’s intricate layers, capturing the influence of coastal rhythms, Andean folklore, and Amazonian beats, fused with elements of rock and psychedelia. From the driving electric guitars of *Grupo Atlantic*’s “Danza Atlantic” to the lively, Amazonian-infused grooves of *Los Invasores* and *Los Tigres*, the album reflects a diversity of styles that arose during a transformative era in Peru’s music scene. Notably, the release revives the distinctive sound of *El Volcan* a Cusco-based label that became a beacon for cumbia in the Andes and beyond.

Peruvian tropical music emerged in the 1960s as a fusion of traditional Andean sounds with electric guitar-driven interpretations of Afro-Caribbean and American rock influences. The insert, included with each vinyl, presents a well-researched narrative of the genre’s genesis and evolution, from early instrumental adaptations of huayno rhythms to the psychedelic Amazonian sounds that became its signature.

This compilation is not only a celebration of Peru’s cultural legacy but also an educational experience, designed to give listeners a comprehensive understanding of the geographical, cultural, and musical landscapes that shaped this genre.

Mark Broom drops the fifth volume of ‘Mutated Battle Breaks’.

Mark Broom’s ‘Mutated Battle Breaks’ series on Radio Slave’s Rekids Special Projects dates back to 2021; since then, he’s released four volumes, with its next chapter arriving to mark the label’s first EP of 2025. Each ‘Mutated Battle Breaks’ EP consists of an extended runtime of eight tracks, supported by the likes of Robert Hood, Ben UFO, I.Jordan, Pariah, Carista, Mumdance, Lauren Flax, and many more.

Across volume 5 of ‘Mutated Battle Breaks’, Mark Broom primes eight more dancefloor-ready cuts complete with rugged grooves, punchy stabs, and wild Techno sequences. From the opener ‘Romance’ and its frenzied arrangement, through to the rolling bleep-infused ‘Ranger’, Broom once again shows his mastery of rhythm and the breath of his Techno productions - one thing is certain: he continues to be one of the most significant producers in Techno after more than three decades.

Techno, House, and rave, Mark Broom is one of UK dance music’s legends and has a myriad of production credits to his name dating back to 1989. Warp, M-Plant, Hardgroove, and his own Pure Plastic and Beardman imprints are just a handful of the labels he’s worked with, while studio collaborations with the likes of Baby Ford and James Ruskin have cemented his reputation as a storied and vital part of electronic music culture.

Folamour represents the present and future sounds of the disco/house hybrid, staying true to the Glitterbox sonic philosophy. His tracks share the same production values as the timeless records from classic disco imprints in the late 70s; melodies are super-tightly harmonised, instrumentation is lively and the rhythms are designed purely for dance. 'The Power and The Blessing of Unity' is almost a mini album, exploring all the facets of Folamour's sophisticated house and disco tendencies. The title track sparkles with brass stabs and a textbook swinging disco beat, 'Island Of Recent Father' breaks things down into synthy house goodness, 'Let's Grab Some Smokes' channels a more contemporary low-fi sound and bringing it home with 'Home Beyond The Clouds', Folamour closes with uplifting house hooks and percussion. It's a real trip.

This rare 12" outing from Rocafort Records features the rapping and production talents of Andy Cooper (Ugly Duckling/The Allergies). Taken from the forthcoming album 'The Layered Effect', both tracks throw you around the hip hop boxing ring, slapping you hard with the prerequisites needed for microphone supremacy. Lyrically tough and musically nimble, Andy swings at you somewhere between the artful dodger and a heavyweight pugilist.

The irresistably bouyant 'Here Comes Another One' opens by means of an elegant old jazz trumpet whose player states "rhythm is my business". Get the picture It's a choppy, jazztastic journey. Cleverly underpinned by a gorgeous jazz piano, horns, sharp beats and aural treats, suddenly mashed up by a reggae toasting session on speed courtesy of Blabbermouf.

'The Perfect Definition' has a heavier step and a more serious punch. Fresh and funky attitude meets a deeply earnest reverence towards microphone art, a theme echoed throughout the LP and cherisheddearly by Cooper.

Two tracks that certainly roll with the punches.Out in November. A sure tonic to the winter blues.

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

In February 2023, multi-instrumentalist, producer, songwriter, and “genre-defying melody man” (Billboard) Amtrac released his highly-anticipated third album ‘Extra Time’ via Openers.

Inspired by a period of deep reflection during the 2020 lockdowns, ‘Extra Time’ consists of a handcrafted fuse of delicate textures and gritty styles into an unfiltered sonic trip, with each song depicting the process of emotions during a time of uncertainty for the future. It’s a 13-track exploration of forced introspection, a cohesive story that finishes with a surreal feeling of hope.

Amtrac stated: “I made this record to encompass what I was feeling during the times of uncertainty in the world, it helped me cope and was my outlet for everything I was going through. When the listener is done with this album I’m hoping to create the feeling of when you left the movie theater as a child and just saw something that made you think differently.”

Designed to mimic the tension and release of a classic film score, the unique sound of ‘Extra Time’ was heavily influenced by Amtrac’s immersion in the worlds of Jazz and 90s video game music, particularly the classic 90s computer game Grim Fandango and the sonic landscapes of Miles Davis and Stanley Turrentine in addition to the groundbreaking work of fellow electronic pioneers such as Bonobo and Dan Snaith.

Album highlights include kickoff track “Heard Me Right” which was described by Billboard as a “moving mix of rhythmic bass lines and atmospheric melodies”, “Contrast” featuring vocalist Reva Devito, and “Domino” featuring Future Islands frontman Samuel T. Herring that Fangoria described as “like John Carpenter and Basement Jaxx had a baby”. The album also features vocals from his friend Naeem, who worked closely with Amtrac on the jazzy and suspended-in-time groove of “Hesitation.” “Nobody Else” flips a vocal from the Four Tops classic “I Can’t Help Myself” over energetic drums and sultry guitar, and “Dancing With You” unfolds with traditional house elements toward an explosive climax of layered synths. Having made his name with intense DJ sets and creative remixes and collaborations, ‘Extra Time’ is the perfect showcase for Amtrac’s trademark stylistic dexterity and melodic sensitivity - and redefines what it means to create electronic music in 2023.

This follows his collab with Diplo and Leon Bridges on “High Rise” and the recent release of “I’ll Be Around”, his collaboration with English vocalist/producer Elderbrook.

2024 Repress alert

Space Ghost is excited to announce the release of Dream Tool, a four track 12” EP produced by Space Ghost himself. Dream Tool offers up four spacious house tunes exploring Space Ghost’s signature style of dance music. Each track is equipped with groovin’ drums, atmospheric pads, catchy piano melodies, and bouncy basslines. Dream Tool is the debut release of Space Ghost’s new label, Peace World Records.

With the launch of Peace World Records, Space Ghost aims to harness his passion for music to create a unique platform for like-minded artists in the Bay Area and beyond. Since moving to Oakland in 2009, Space Ghost has been a consistent fixture in the Bay Area music scene, DJing regularly and refining his production skills. For Space Ghost, honing his craft and creating enduring, high-quality art is essential, making the establishment of his new label a natural progression in his artistic journey.

Space Ghost has garnered an international following over the years by steadily dropping a diverse array of LPs and EPs. He has collaborated with Danish label Tartelet Records for multiple projects and has also put out music with acclaimed labels such as Apron Records, Pacific Rhythm, and PPU. Across his releases, Space Ghost’s production style weaves between ambient and dance music, drawing inspiration from the underground scenes of the '80s and '90s while adding a contemporary touch.

The launch of Peace World Records and its debut release, Dream Tool, marks Space Ghost’s inaugural step towards his goal at a full-time music career. Embodying his journey, this debut release truly is his Dream Tool.

Get Ready to Groove!

Introducing the latest sensation from Hamburg's vibrant music scene – Automart's brand new Funk/Boogie 7" single, released on the esteemed Born To Shine Records!

This 2 electrifying tracks are a perfect blend of infectious rhythms and soulful melodies that will have you dancing from the very first beat. With his unique sound, Automart captures the essence of classic funk while infusing it with a modern twist, making it a must-have for any vinyl enthusiast or party playlist.

Whether you're a long-time fan or new to their music, this single promises to elevate your spirits and get your feet moving. Don’t miss out on the chance to experience the magic of Automart – grab your copy now and let the good times roll!

Let’s keep the funk alive!

Londoner come Margatean Ben Sun returns to RNT with a full-length offering of introspective analog electronic textures. Moving through various tempos and rhythmic styles, Ben crafts a sonic palette that feels alternatively meditative and melancholic, dark and brooding, or meditative and euphoric, while always rooted in a solid groove. With gorgeous artwork designed by Ben himself, this record is a gorgeous listen, and essential warmth for the frigid winter months

More Rice Co-Founder DOTT returns with his first solo EP on More Rice since MR002.

One the A-side Semitone Revolution brings a groovy repetitive bassline with an unpredictable transparent rhythm with a combination of different sounds and a quirky sequence that makes it a dancefloor track for many occasions. One Foot Forward, not a typical Tech-House track that uses detailed sounds and interesting swing. The original track is accompanied by a remix from groove addict Sweely, adding that Sweely touch, making it playable at almost any time.

On the flip side, About Quality Time, DOTT shows off his signature bassline with his interpretation of House music with his groovy rhythm, a track that truly combines after hours and peak time. About Quality Time comes equipped with a remix from Mr_Barcode or Jay Tripwire, putting a super trippy spin on the original track.Sleep deprivation is the secret sauce to his sound.

As is the case with fellow 'enforcers'-turned-producers, Henry 'Junjo' Lawes and Philip 'Fatis' Burrell, George Phang had been involved in the internecine street battles that had split Kingston into rival politically-aligned zones during the 1970s, when the broader effects of Cold War politics were played out in Jamaica. Following some encouragement from Sly and Robbie, Phang changed focus, putting the politics aside to concentrate on music production, becoming one of the most important producers of the early 1980s in the process. Phang took over the rhythm twins' Power House label around 1982, and with the duo forming the mainstays of his productions, the result was guaranteed audio dynamite, as this killer devotional track by Barrington Levy from 1983 so amply suggests—a beautiful extended slice of late roots, heading towards the emerging dancehall style.

"Visionary director, photographer and producer, Robert Ascroft unveils a captivating musical odyssey akin to the cinematic allure of Wim Wenders' ""Until The End Of The World"" and the ethereal resonance found in 4AD's This Mortal Coil. Emerging as a prominent photographer in the 2000s, Ascroft forged his path through collaborations with luminaries of the Oscars, Grammys, Tonys, and Emmys. With an innate ability to capture the essence of his subjects through his camera lens, he redefines photography, infusing it with depth, emotion, and narrative. A classically trained guitarist turned music producer, Ascroft weaves intricate melodies and evocative songwriting with cinematic narratives.

Drawing from a diverse array of talented friends, Ascroft curates a mesmerizing ensemble of vocal performances featuring luminaries such as Zumi Rosow (Black Lips), Kid Congo Powers (The Cramps, Gun Club), Tess Parks, Ruth Radelet (Chromatics), Britta Phillips (Luna), and more. With Ascroft's multi instrumental performances on guitar, bass, and keys, complemented by the rhythmic contributions of friends Derek James and Roger Brogan, the album takes on a rich and dynamic sonic journey.

""Echo Still Remains'' transcends traditional musical boundaries, beckoning listeners into a world crafted from Ascroft's vivid imagination. Each track unfolds like a technicolor scene in a cinematic narrative, with each melody and lyric evoking a sense of profound introspection and wonder. Accompanied by stylized music videos in Ascroft's distinct visual world, ""Echo Still Remains"" emerges as a multifaceted work of art, inviting listeners to stir the soul and lose themselves in a world of sound and sensation."

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

The long-awaited new full-length from legendary electronic pioneers THE ORB with cover design from iconic graphic wizards THE DESIGNERS REPUBLIC • A fascinating sonic journey over four epic tracks, constantly switching between psychedelic flourishes and beat-driven focus

Veritable pioneers of electronic music, iconic act THE ORB returns to Kompakt with the new full-length MOONBUILDING 2703 AD - another major slice of psychedelic synth bliss, obscure loops and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), as well as several contributions to our Speicher and Pop Ambient series - but more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a ground-breaking career.

True to form, the new offering MOONBUILDING 2703 AD features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener GOD'S MIRRORBALL hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners - welcome to THE ORB's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner.

Likewise, follow-up track MOONSCAPES 2703 BC presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately 9 minutes, LUNAR CAVES is the shortest jam of the bunch - and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut MOONBUILDING 2703 AD introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve - even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed.


• Das langerwartete neue Album der legendären Elektronikpioniere THE ORB mit einem Coverdesign der gefeierten Graphikschmiede THE DESIGNERS REBUBLIC • Eine faszinierende Klangreise über vier epische Tracks hinweg, permanent zwischen psychedelischen Schlüsselreizen und beatgetriebenem Fokus changierend

Mit THE ORB kehren echte Pioniere der elektronischen Musik zu Kompakt zurück - der Langspieler MOONBUILDING 2703 AD präsentiert erneut einen grossen Wurf in Richtung psychedelischen Synthie-Segens, obskurer Loops und porentiefer Ambient-Texturen, geschwenkt in schwungvollen Breakbeats und wirkmächtigen Basslines. Mit einem für genresprengende Projekte wie diesem hier eher unüblichen Vorwärtsdrang beerbt das neue Album von den Großmeistern Alex Paterson und Thomas Fehlmann ihren 2005er Erfolg auf Kompakt, das augenzwinkernd benannte "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), sowie einige Beiträge zu unseren Speicher- und Pop-Ambient-Serien - viel wichtiger allerdings, daß wir das legendäre Duo auf der Höhe ihrer Schaffenskraft antreffen, eine neue wesentliche Phase einläutend in einer Laufbahn, die nur als bahnbrechend bezeichnet werden kann.

In bekannter Manier hat das neue Werk MOONBUILDING 2703 AD eine eher kleine Tracklist vorzuweisen, baut dafür aber jeden seiner vier Tracks zu Mini-Epen von eigenem Recht um. Der Eröffnungsakt GOD'S MIRRORBALL schwebt einem da vor Ohren, zuerst nur mit einer Handvoll gemütlichen Rauschens bewaffnet, später dann in ein feingliedriges Mosaik von atmosphärischen Melodieskizzen und mitreissenden Rhythmen explodierend. Mit einer hypnotisierenden Lauflänge von über 14 Minuten etabliert das Stück die Blaupause für die folgenden Ereignisse, perfekt die enorme Reichweite der künstlerischen Vision und ihre Fähigkeit zur massenhaften Verführung nichtsahnender Tänzer illustrierend - willkommen in THE ORB's Klanglabyrinth, wo nichts ist wie es scheint und das Unerwartete um jede Ecke lauert.

Ähnlich präsentiert sich der Folgetrack MOONSCAPES 2703 BC als einzigartig vielseitige Angelegenheit, bequem zwischen ambienten Ornamenten und beatgetriebenem Fokus sitzend und mit sovielen Drehungen und Wendungen wie ein Gaunerfilm - doch stets seine Cliffhanger im makellosen Flow erdend. Ein wenig über 9 Minuten lang, ist LUNAR CAVES der kürzeste Entwurf in der Gruppe - und auch der ätherischste, hält er doch die Rhythmusanteile auf einem puls-ähnlichem Minimum und optiert stattdessen für freilaufende Synthie-Texturen. Das letzte Kapitel des Albums schließlich ist auch der Titeltrack: MOONBUILDING 2703 AD besitzt eine überraschend jazzige Note, die sich ziemlich gut in den Reichtum an elektronischen Tricks einfügt, welche hier aus dem Ärmel geschüttelt werden - sogar in rauem Bass schwelgend und eine atemberaubende Vielfalt an Rhythmussektionen aufrufend, die ständig die Plätze tauschen. Es ist ein passender Abschluss für ein derart facettenreiches Album, so idiosynkratisch wie möglich und so anschiebend wie nötig.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

In 2016, the Norwegian pianist and composer Espen Berg was commissioned to write for the Trondheim Jazz Orchestra. With the opportunity to hand-pick a line-up consisting of 14 of Scandinavia’s most creative and prolific jazz artists, Espen grasped this opportunity with both hands and a mind bursting with ideas. MAETRIX premiered at Molde Int’l Jazz Festival in 2017 to a standing ovation, making the audience shake their head in awe. However, MAETRIX isn’t just an impressive feat, it’s also incredibly beautiful music.

With MAETRIX, Espen has solidified his call to explore a kind of music where complex rhythms are paired with strong, heartfelt melodies. The name itself combines the 1999 blockbuster movie title The Matrix, with metrics. Similar to the movie, the listener can choose which reality to listen to, either intellectually by diving into the mechanical and the conceptual, or emotionally by getting carried away by the melodies and the music as a whole.

The Trondheim Jazz Orchestra demonstrates yet again to inherit a flexibility and agility more commonly associated with smaller bands. Every musician add their personal rendition to the scores, transcending the music and make it come alive. MAETRIX has been performed at seven festivals and venues in Norway and Sweden, and it was recorded in Rainbow Studio, Oslo in May 2021 by Martin Abrahamsen. For Espen it has been a defining project, and many of the songs have lived on in his trio. It also laid the groundwork for Water Fabric, which was released in November 2023. As an «about time»-moment, MAETRIX will finally be available on Odin Records on Aug 30.

Another one from Lloydie Slim, this time on his Ivanhoe the Conqueror label. This is the horns cut of his killer lick of drum song, by sax man Lennox Brown. A different mix of this was released on the flip side of the New York pressing of Tappa Zukie’s cut, where it was titled “Ivanhoe Strikes Again.” This mix, with its dub version, were put to tape for a single release titled “Danger Zone” which never happened at the time in the late ‘70s. Another previously unreleased heater, now you can play this one alongside the other cuts of this rhythm appearing on our Record Smith compilation albums.

Der legendäre ghanaische Afrobeat-Pionier Ebo Taylor veröffentlicht in Zusammenarbeit mit den Jazz Is Dead-Gründern Adrian Younge und Ali Shaheed Muhammad ein neues Studioalbum. Im Alter von 88 Jahren reiste der ghanaische Highlife- und Afrobeat-Pionier Ebo Taylor zum ersten Mal in die USA, um bei der inzwischen kultigen Jazz Is Dead-Konzertreihe aufzutreten, die landesweit ausverkaufte Hallen bescherte. Während dieser Zeit nahm Ebo zusammen mit den Jazz Is Dead-Produzenten Adrian Younge und Ali Shaheed Muhammad ein psychedelisches Afrobeat-Album auf. Eine Zusammenarbeit, die Ebo-Fans auf der ganzen Welt nicht erwartet hätten und die Kenner des klassischen westafrikanischen Funks sicherlich zufriedenstellen wird. Die wirbelnden Bläser und düsteren Gitarren auf "Ebo Taylor JID022" erinnern an seine bahnbrechenden Aufnahmen aus den Siebzigern, die ihn zu einem der produktivsten und revolutionärsten afrikanischen Künstler aller Zeiten machten. Aufgenommen im Linear Labs Studio von Adrian Younge, beweist dieses Album mit polyrhythmischer Perkussion und twangy, fuzzed out Gitarren, dass Rhythmus der Schlüssel zu allem ist. Das Ensemble ghanaischer Backgroundsänger*innen verströmt einen einzigartig spirituellen Sound, der die Hörer*innen in Ebos Glanzzeit zurückversetzt. Eine der aufregendsten Komponenten dieses Albums ist jedoch Taylors unverkennbarer Ansatz beim Gesangsstyling. Seine zu Herzen gehenden Texte über Liebe, Frieden und Spiritualität spiegeln seine jahrzehntelange Erfahrung und Weisheit wider. Dies ist ein Afrobeat-Klassiker, der ein echtes Highlight im Kanon von Ebo Taylors unbestreitbarem Katalog und ein Kronjuwel in der Jazz Is Dead-Bibliothek darstellt.

Der legendäre ghanaische Afrobeat-Pionier Ebo Taylor veröffentlicht in Zusammenarbeit mit den Jazz Is Dead-Gründern Adrian Younge und Ali Shaheed Muhammad ein neues Studioalbum. Im Alter von 88 Jahren reiste der ghanaische Highlife- und Afrobeat-Pionier Ebo Taylor zum ersten Mal in die USA, um bei der inzwischen kultigen Jazz Is Dead-Konzertreihe aufzutreten, die landesweit ausverkaufte Hallen bescherte. Während dieser Zeit nahm Ebo zusammen mit den Jazz Is Dead-Produzenten Adrian Younge und Ali Shaheed Muhammad ein psychedelisches Afrobeat-Album auf. Eine Zusammenarbeit, die Ebo-Fans auf der ganzen Welt nicht erwartet hätten und die Kenner des klassischen westafrikanischen Funks sicherlich zufriedenstellen wird. Die wirbelnden Bläser und düsteren Gitarren auf "Ebo Taylor JID022" erinnern an seine bahnbrechenden Aufnahmen aus den Siebzigern, die ihn zu einem der produktivsten und revolutionärsten afrikanischen Künstler aller Zeiten machten. Aufgenommen im Linear Labs Studio von Adrian Younge, beweist dieses Album mit polyrhythmischer Perkussion und twangy, fuzzed out Gitarren, dass Rhythmus der Schlüssel zu allem ist. Das Ensemble ghanaischer Backgroundsänger*innen verströmt einen einzigartig spirituellen Sound, der die Hörer*innen in Ebos Glanzzeit zurückversetzt. Eine der aufregendsten Komponenten dieses Albums ist jedoch Taylors unverkennbarer Ansatz beim Gesangsstyling. Seine zu Herzen gehenden Texte über Liebe, Frieden und Spiritualität spiegeln seine jahrzehntelange Erfahrung und Weisheit wider. Dies ist ein Afrobeat-Klassiker, der ein echtes Highlight im Kanon von Ebo Taylors unbestreitbarem Katalog und ein Kronjuwel in der Jazz Is Dead-Bibliothek darstellt.