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Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

Tint is the first new solo recording from Joe Talia in over a decade. Australian-born but now based in Tokyo, Talia is known to many listeners as a drummer (frequently collaborating both live and in the studio with artists such as Oren Ambarchi and Jim O'Rourke) and as a recording and mixing engineer responsible for dozens of releases across the fields of contemporary experimental music, wayward pop, and jazz. Alongside James Rushford, he is also responsible for one of the most legendary releases in the Kye records catalogue, the creaking electronic morass of Manhunter (2013).

Lovingly crafted over many months in his tiny Tokyo studio, Tint is an album-length electroacoustic suite that brings together Talia's expertise as percussionist, studio engineer, and performer on analogue electronic instruments (primarily modular synth and Revox tape machine). Ranging from minimalist austerity to kosmische lushness, Tint refreshingly refuses the dark and moody sonic palette of much contemporary electroacoustic music in favour of an airy, at times almost weightless sound-world of gliding tones, skittering percussion, and burbling field recordings. Drawing inspiration from Jean-Claude Eloy's epic concrète love letter to Tokyo, Gaku-No-Michi, Talia makes extensive use of his own recordings of his new home, but removes any sense of audio verite, abstracting them into transparent glosses of outdoor ambience or unidentifiable chimes and creaks. Flowing seamlessly between distinct episodes, Tint is compositionally controlled while retaining a sense of played spontaneity, eventually building to a maelstrom of analogue synth zaps and tape manipulated percussion that reflects Talia's deep engagement with the relentless yet constantly shifting dynamics of free jazz.

New to the Stay Underground It Pays gang, the 11h release on the label comes from one of the most elegant japanese producer we've heard in ages : MOTOMITSU ! We get the chance to get 5 cuts on one ep (!) which is almost a mini album introducing you guys to his astonishing sound. Born in 1977 Hamamatsu, Japan
Motomitsu is a Japanese artist, DJ, children's book author, Musician, Poet, Event organizer living in Paris. He crosses freely the border of music and arts, literature. He is publishing his children's books and releasing his music. He plays DJ as a member of DJ team"Cracki" in Paris, also play the keyboards and accordion for some bands. His art work is influenced by Music and Poem. He has released tracks on various labels such as Cracki, soirée records (detroit) & cherry juice. All in all, another wonderful release that feels straight at home in the Stay Underground It Pays catalogue. Skylax always.

The cornerstone track from Chloe´'s new album, an adventurously dark landscape dotted by Montreal rock band Suuns' singer Ben Shemie's vocals, Recall deserved this long-awaited quartet of astounding remixes, which serve as extensions of her latest full-length Endless Revisions' second single, released last October on Lumie`re Noire, the label founded by Chloe´.Moire´, Matthew Dear's latest signing to his Ghostly International label (which released the London artist's debut album in early 2017), retained a smattering of Ben's syllables, setting them to a captivating retro- futuristic remix that straddles two worlds, along the milestones of a restrained beat in a mesmerizingly ethereal and ghostly road trip that could last forever.German Crosstown Rebels signee Jonathan Kaspar's version is a more banging techno version, rounding out the EP's wide array of moods and genres. Over a formidably progressive build-up, the mood remains dark thanks to Ben's stretched-out vocals, and Recall's original universe is made more dynamic with a sped-up tempo, added percussions, and a concluding harmonisation finale that brings it all into the light. Douglas Greed, previously remixed Chloe´'s Driven (released on BPitch Control back in 2015,) similarly chops up the vocals, but takes them down a different road, reassembling the original's elements to create a different track, resulting in a fascinating free-form re-reading, an adroit upcycling, a long detour through the German producer's favoured poetic techno backroads - possibly inspired by the surroundings of Jena, Greed (a.k.a. Mario Wilms') hometown, and homebase of the Freude Am Tanzen label, the serious stable of geniuses directed by the incomparable Robag Wruhme.In a more motoric register, Autarkic's re-imagines Recall via a different narrative lens, re-populating and grounding it all at once. The Israeli Red Axes accomplice, who released an excellent debut album (I Love You Go Away) on Disco Halal last April, has a knack for propelling fanatics of rock urgency straight to the dancefloor. A gang of machines amplifies Shemie's voice, highlighting its minutiae of suffering and pleasure, leading the listener into dawn.

NYC native Eric Maltz has been a professional producer and pianist for more than 20 years. After landing on the techno scene in 2017 with the double vinyl 'NS-17' EP on Levon Vincent's Novel Sound, Eric Maltz releases his first single on his own label Flower Myth.Opening on the title track , a bruising slice of machine techno, the live touch of the New-York producer stands out throughout 'Pathway'. On 'Ah-Shu-De-Ohu', paranoid chimes swirl out of focus while chopped up vocals command attention. Free floating chords glide through a meditative soundscape on closer 'Line Through'. Flower Myth will release 4 more singles from Eric Maltz throughout 2018, one of them a collaboration with Cristina Valentina, the powerful voice from 'We Have Power' (NS17).Having recently signed with Uzuri booking and artist management, Eric will soon be bringing his singular live techno to his home-base city of Berlin and other major cities across Europe and the World.

A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoe Mc Pherson's exploration of this world on String Figures is a deeply rhythmic, immersive and forward-thinking piece of electronic- leaning music that remains just as danceable as it does experimental.
The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. One that over time will involve video art, choreography, 3D motion design, macro film, instrumental and electronic sound. Although for now is being presented through an AV performance, films and a record with Mc Pherson collaborating with director Alessandra Leone.!
Over the seven tracks (which are laid out as chapters) the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For Mc Pherson it's about mixing worlds, histories and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping. 'Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming.' However, there's also a purer reason for the exploration of these worlds and colliding them together. 'Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings.'

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years. Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxaphone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling".

So 1974 was a huge year for all five of these people. Donald Smith and Cecil McBee were six months away from recording on Lonnie Liston Smith's massive "Expansions", with McBee fitting in a few Pharoah Sanders albums in between.

AND THEN, THE MYSTERY ... So with all this fervent activity, the question has to be asked ...Who was Billy Earl Parker Jr (drums), the leader of this session

Billy Parker remains unlisted as a musician on all major jazz sites. His only other recording appears to be as a percussionist on Charles Tolliver's "Impact" in 1975. Then there's nothing.

Finally, by backtracking one of those Zoom info pages, I found a summary of a "SUNY Rockland Community College" 2002 press release that no longer exists :

"Billy Parker's Fourth World Legacy Concert ...The concert, Billy Parker's Fourth World Legacy, is the eighth annual tribute honouring the late percussionist and RCC educator, Billy Parker. A long-time Rockland County resident, Parker began his affiliation with RCC in 1987, building its jazz program and maintaining his life-long tradition of teaching and inspiring others. A lifelong student himself, Parker was near completion of his doctorate in music education at New York University when he died in 1996.

But then people began to read this blog post, and in the comments, Aaron Fuller said :

"Billy Parker was my uncle. He was an incredibly talented, smart, and kind man. I'm very happy to see that folks are still enjoying his masterpiece. Just to give you a bit more information about him... He was born and raised in Buffalo, NY and then attended college at Michigan State University. He met my aunt in Lansing. They lived in NY and toured in Europe for quite a while. Sometime later they relocated to Nyack, NY and he ended up on the faculty of the community college while he pursued advanced degrees from NYU. He was an Ellington scholar. Although his name isn't well-known even among the most avid jazz fans, I think that if you were to talk to some of the great NY musicians that were around in the late 60s and 70s you would find that most knew him. He also had a huge impact as a music educator and I have no doubt that his former students are all over the place, continuing to put his love of the art into practice."

Bursting through the vapour trails of previous Solar Phenomena pilot Antonio Ruscito, London's Roberto is invited to the take the controls of the forward-thrusting new label's third adventure.

With turbine pads raising hairs at 20 paces, opening track 'Into The Blue' is an alluring statement. Adorned with breathing atmospherics and stately kicks, it builds perfectly on Roberto's previous work both on his own highly respected label Fossil Archives and other eminent imprints such as Emmanuel's Arts and Dehnert's Fachwerk as a fusion of contrasts and shades.

'DX Waves' takes us up a gear as it heads nose-first into a techno vortex. Relentless, driving and hypnotic, there's a pneumatic funk to the drums while the riff ripples and stimulates with a warmth and fluidity that instantly recalls the legacy of Motor City while remaining plotted to a path of its own.

This sense of unbridled drive and energy continues on Roberto's final original of the EP: 'Chord Recall'. Here the drums take more of a central position on the stage as the warped, melting tones and textures wrap themselves around the punctuated kicks and occasional deep-splash cymbals. Laced with a deep sense of space and a bewildering sensation of an unknown destination, it s another innovative voyage for Solar Phenomena that's brought home with an exciting revision conclusion from the one and only Peverelist.

A Bristol beat explorer who needs no introduction, Peverelist's take on 'Chord Recall' takes off where his recent album 'Tessellations' left us at the start of the summer. With his loose broken drum signature, Peverelist provides space for Roberto's original textured elements to take place at the centre of the stage and roam and evolve freely and hypnotically. A fitting end to another exceptional and innovative exploration, both Roberto's originals and Peverelist's remix set us up eagerly for the next Solar Phenomena chapter

Written, performed and produced by Thomas Moen Hermansen @M57 Studios Asker Jan-Sept 2016

Published by Smalltown Supermusic/Sony ATV Scandinavia

Mastered by Schnittstelle , Photos by Ragnhild Fors, Design by Metric Design

After the slightly more conceptual "Principe del Norte"album, "5" takes two steps forward and one step back
collecting a batch of tracks that was recorded right after it's preceder and in tandem with the recent "Square One"album with Bjørn Torske.
A "freedom"album of sorts, beyond the slightly misleading album opener "Here comes the band" there's a variety in these tracks tracing inspiration from 35 years (unhealthy)obsession with all things "good music" played enthusiastically.
"5" also marks the launch of my new label "Prins Thomas Musikk".

A run through the tracks with a couple of hints to titles and inspiration:

"Here comes the band"
A planned album of a fake band consisiting of me only was ditched. This is their only entry...
Very loosely inspired by "Bandwagonesque"era Teenage Fanclub

"Villajoyosa"
Melodic ideas hummed into a handheld recorded and specific notes about instrumentation scribbled down while on holiday in Villajoyosa in Spain turned into this little ditty when back in slightly colder Norway.

"Bronchi Beat"
Made in bed during a rough patch of bronchitis. Heavily influenced by prescription cough medicine.
Orbe from Madrid made a dizzy techno version which comes out soon enough...

""
I find great inspiration in working on new ideas while travelling the skies. Partly inspired by a detour into the soundtrack of my early teens (Paul Hardcastle, Warp 9, Maze, Mtume...)this particular one was started on a bumpy flight home from Athens and later finished in my tiny M57 Studio(R.I.P.)

"Æ"
Another bronchitis-ridden idea. Slow and low is the tempo. Beat originally inspired by Brian Briggs "AEO", melodies beamed in from Wally Badarou.
"Æ"is the norwegian pronounciation of the A in Acid refering to the 303 screeches going through the "song"

"Ø"
By the title you might think I'm running out of ideas. Not sure what happened here and why...

"Lunga Strada"
The track that took me the longest to complete hence the "long road".
Personal favourites The Pilotwings from Lyon sent over 2 ridiculously good and fun remixes which will
be released on a separate 10"

"London til Lisboa"
Another idea made on a plane when I should have tried to catch some sleep.
Direction steered by Plaid and Pat Metheny. Thank you for the inspiration

"Å"
Initially the final track AND then: scrapped idea for the alphabet soup of "Principe del Norte".
Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12"

"Venter på Torske"
The final recorded addition to the album. Made while waiting for Bjørn Torske to reply on a text message...

"Aske Hermansen"
In all seriousness, this is probably as soppy as it gets with me.
Tears into my computer keyboard, made on the road missing my wife and kids.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Hans Zimmer's score for Ridley Scott's Roman masterpiece, complete with Wagner-like anthems of war and accompanied by music evocative of Holst, was nominated for an Academy Award and won a Golden Globe for Best Original Score. Lisa Gerrard's haunting voice adds a timeless and atmospheric quality to the simple but stirring melody Zimmer uses throughout. Zimmer's score was voted Number Four in the 2016 Classic FM Movie Hall of Fame. Part of four new to vinyl reissues. This has original artwork with printed inner sleeves. Gladiator is presented in a gatefold sleeve. All releases are 180g heavyweight vinyl, and include download codes. The lacquers were cut at Abbey Road, home to many legendary soundtrack recordings and pressed at Record Industry.

This release is gifted by a special remix from someone who need no introductions today : Chris carrier aka Mr Georget delivers a dope remix of one of the track that Franck already released on Home Invasion called Yabba.. The idea was to give to our favourite remixers (cause we got some good guys coming up aswell) the freedom to choose one of the tracks that they really like from the label.Mr Georget gave us a deep and hypnotic feeling on this one and we already love it it here; that's why we choosed to press it has a 45 rpm full side to give him the best sound and dynamics. On the other side Franck give us 809, a track wich is the result of the sync between the 909 and the 808 together when it comes to speak about drum and some synths delighted by his own secret.
Bugz is a simple ruff track coming out from the MPC wich we can ear from the drums, and some stabs samples coming thru his Vermona filter and passing by some external effects.. in and out its all about the jam here J We hope you will enjoy this new Ep has the summer starts soon guys...
Of course no share has we do vinyl only.

Cookin' On 3 Burners are Australia's foremost organ trio joining the dots between funk, soul, boogaloo & jazz. Long time partners Lance Ferguson (guitar), Ivan Khatchoyan (drums) and Jake Mason (organ) have taken their home brew of soulful Hammond get down everywhere from jazz festivals to after hours bars and clubs. Their top notch reputation led to them supporting Sharon Jones & The Dap Kings in Sydney, jamming live with Breakestra and becoming THE in demand band south of the equator. With a musical CV that includes names like Joe Bataan, Alice Russell, Mark de Clive-Lowe and The Quantic Soul Orchestra, as well as the world beating outfit The Bamboos, it's not surprising this latest CO3B album has generated huge interest even prior to its' release. Their first Freestyle album 'Baked, Broiled or Fried' featured the group in a hardcore funk groove but on 'Soul Messin' sees the sound, feel and influences widened further with some quite magical results. Versatile singer Kylie Auldist (Tru Thoughts Recordings) opens proceedings on the deep funk groove of 'Push It Up' but it is the Freestyle 45 'This Girl' (FSR7057) that provides the mellow, beautiful and incredibly catchy vocal highlight of the entire collection, shimmering horns ride over this laid back, future deep soul classic. We don't yet know what Gary Numan will make of CO3B's version of his 80's synth pop hit 'Cars' (CD only) but Jake Masons organ playing (including simultaneously supplying the super funky bass lines via his Hammond foot pedals and left hand) takes this track in a direction no one was expecting! Drummer and top notch singer Fallon Williams provides his gritty, searing voice on 'Hole In My Pocket' and 'Seen Through Your Disguise' sounding very much like US soul legend Robert Moore and the band display their versatility whilst doffing their caps in the direction of The Meters on the numbers 'Dog Wash' and 'Piranha' The down tempo, moody album closer 'The Proving Grounds' (CD only) once again shows the groups expanding musical textures and rounds off 'Soul Messin' the bands most varied and accomplished recording so far.

Recent Mark Lamar Live Session on Radio 1

"This Girl" has been Freestyle's top selling single of 09 so far !

Phonica Records is extremely proud to unveil the next release on its Special Editions imprint; the stunning debut album 'Vuduwave' by Niños Indigo.Niños Indigo is the alias of audiovisual artist Valeria Hernandez. Developed over the course of a month, the album was recorded in Hernandez's home country of Chile and recorded in a single week, resulting in a flowing, organic yet otherwordly listening experience. Valeria explains; 'This record is a compilation of influences that have been inside me a long time... they keep coming back; Afro drums, Hindu instruments, Candombe, Psychedelia in South America. The rhythm of what surrounds me; the lake, the forest near where I live, the calm that surrounds it, the love of my friends and daughter. All of these feelings are what I like to put in my songs, a reminder to value the simple, to seize the resources that I have and to try and free myself of what's on my mind.'Originally released on digital and cassette label Discos Cetaceos in 2014, it's a recording that truly deserves to be given a new lease of life on vinyl.

a gatefold heavy card board sleeve and heavy vinyl !! remastered and recut from original masters !!! the artwork will be true to the original (including textured covers and embosses where appropriate) and will feature lyrics, and additional sleeve notes and artwork !!!

Moonshine Recordings continues to coordinate dub into all sorts of directions with its steady throughput of vinyl releases. This time around, it's the Spanish-based Bukkha to uplift all followers with two up-tempo rollers that take part in his crucial 'Ruling Sound' EP. His name has been all over the news inside bass culture lately, as the American released highly noted physical music on critical labels like Killa Sound and Dub-Stuy Records. He's been working his way to the top and the only thing the Moonshine Recordings imprint can do is support his efforts in pushing dub music to the masses at any given moment of the day.
On top of this wicked news, Portland's dub producer and engineer 'Skelli Skel' joins this session to frame the taste of the 'PDX Mandem' collective from back home. His love for complex rhythms and heavy bass lines fuel his adventure inside dub culture, something you'll hear when listening to 'MS028'. And with the familiar voice from don Junior Dread, who jumps in on the hype by illuminating the dub with carefully selected freedom of speech, it's the collaboration that speaks for itself. To top it all, TMSV is added to the release roster, a producer whose been dealing some serious damage with his inventive music repertoire. Whether it's music on the darker tip, or the more laidback sound, both Bukkha and TMSV know how to uplift and please their followers with bass-heavy, eardrums-teasing bass music.
Bukkha's 'Ruling Sound' leads his way through musicality by portraying the right balance of instruments and not to mention the gigantic bassline that disperses vibrantly through the lower bottom of the mix. The reigning vocal support from Junior Dread and dub techniques from PDX Mandem family Skelli Skell work out fantastically, as it makes this record come to life. Listen to the instrumental part that propagates in the exact sense of 'dub music', regardless of spinning on a higher beats per minute. The version 'Ruling Dub' by Bukkha himself plays a more meditative part inside your headspace; a clipping where basslines and effects will act up in a blurred version. It's the real attention to detail the American producer shares with remix boss TMSV, who hits fans with a darker joint that pays homage to Drum & Bass. It's aggressive stance forms the pinnacle of 'the right' B-side of a Moonshine Recordings plate. Just make sure you experience the second drop of this absolutely mammoth interpretation, as TMSV shuts down the place!

Josh Praus has been involved in San Francisco's Bay Area scene for the last two decades. A prolifc collector and player of records, What We Tellin' Them marks his frst public outing as a producer. As debuts go, it's pretty darn impressive.
Praus has been working hard in the studio over the last three years, creating tracks that draw infuence from a wide range of styles and artists. He cites 'downtempo, disco, house, Italo and techno' as major inspirations,
and listeners may hear elements from all of these disparate styles on this assured, confdent EP.
Some may hear echoes of the trippy, tribal-infuenced house sound of Siesta and Tango Recordings in the dense, drum-heavy shuffe of 'What We Tellin' Them', while others may fnd comparisons with African rhythm tracks and hypnotic, late night techno. However you frame it, 'What We Tellin' Them' is
an impressively percussive, mid-tempo workout designed to tease and titillate late night dancefoors. Flipside 'Lucas Valley Dr', featuring the dreamy, freestyle vocals of experienced San Fran singer Nina Lares, couldn't be more different. Sparse, synthesizer-driven and undeniably intoxicating, it seemingly channels the spirit of both dubbed-out West Coast deep house, and the similarly delay-laden New York proto-house of Winston Jones and Paul Simpson. Throw in clear Italo-disco and Chicken Lips infuences, and you've got something that's undeniably magical. Both tracks were produced by Josh Praus at his home studio, with additional production, mixing and mastering by friend Layne Fox, best known as part of regular Leng contributors 40 Thieves.

First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.

Munich based pair Jorkes are something of an enigma, having appeared on the scene recently with a fully formed sound and a desire to let their music do the speaking for them. Musically the duo seem to be operating with few boundaries, looking to express their emotional states through their music with scant consideration for styles or genres. This latest release sees Jorkes team up with fellow Munich resident and vocalist Karol Schmejchel to deliver a slice of evocative, slo-mo nu-disco. The release kicks of with the original mix of 'Thank You', marrying chugging drums and warm bass with stirring pads and the emotionally charged vocals of Schmejchel. It's a perfect track for dark backrooms and home lounging alike. The remix comes from Manchester trio Menage a Trois who deliver a sonical beautiful reworking built around heartwrenching keys and heavily reverbed guitar parts. Simple understated drums carrying the record along as their vocal treatment soars towards the heavens, this is sublime stuff. The vinyl release will also feature an exclusive instrumental of the Menage a Trois mix for those who like things a little more stripped back. In keeping with Jorkes' creative outlook, and following on from their previous release, there will be an exclusive music video of 'Thank You' forthcoming which is likely to set pulses racing once again! Thanks for purchasing a real copy!

Those disco specialists at To Rack & Ruin are back in business, kicking off their 2016 campaign with an absolute scorcher from Moscovite producer Phil Gerus. After making waves with a string of releases for the likes of Futureboogie and Sonar Kollektiv, Gerus arrives at the Mancunian edit institution in fine form, ready to take over the world with a quartet of fully loaded floor movers for all you dancing fools.
Going hard and heavy from the off, Phil introduces himself with the tumbling toms and zero gravity sequences of 'Delicious Wishes', a neon tinged reshape of an Angelic original. Working the loops and FX like a pro, the Russian sprinkles space dust all over this camp cosmic classic, packing a whole host of extra oomph in the warp drive! "Bossy Lady" Phil turns his attention to Italo, setting pulses racing and feet stomping with the space age sound of . Playing free and easy with the pitch control, the Moscow magician conjures up a space disco body mover complete with tripped out vocals, chunky guitar and nebulous synth lines. Sticking with the moods and grooves of the Mediterranean,
Over on the flip we have "Stop! Let's Slow Down" powering into the peak time in a shimmer of sequins as it supercharges a boogie vintage for the modern DJ. The finest floor shaking boogie reheat since Tiger & Woods last hit a hole in one, this is gonna raise the temperature at any party worth its salt. Phil takes us home with a spaced out version of an all time Italo classic. Reworking the percussion and looping up that low slung baseline, our host supercharges the groove for modern club deployment, rounding off another essential release from your favourite edit imprint.

Pressed on Black Vinyl with hand stamped logo & info

Gone with the flow - after a little break the German musicians Julius Steinhoff and Abdeslam Hammouda revived their musical adventures and left all electricity untouched this time. For their new acoustic project the duo has chosen the alias Tonight Will Be Fine - a name that is familiar to those who followed their work in the past years. As Steinhoff & Hammouda they used the name for their first 12" on Smallville Records, the worldwide acclaimed house and beyond label and record store that Steinhoff co-runs. Now they reheated the phrase and chose it as the alias for a bittersweet acoustic singer/songwriter project. Their wonderful, captivating new musical venture came into life due to happenstance and old ferventness. After their trips into house music the duo parted geographically. Hammouda moved away from Hamburg while Steinhoff strengthened his label Smallville, built up a global DJ career and produced acclaimed house records on diverse labels - solo" and with his buddy Dionne as Smallpeople. In all the time Steinhoff and Hammouda never stayed out of touch, bound together through deep friendship.

At some point they met again for musical missions and started to record music that had nothing in common with their prior work. Steinhoff re-activated his self-taught guitar abilities and entered the studio of his friend Lawrence in the back of the Smallville record store to capture some steeldrums and vibraphone sounds. Hammouda brought more instruments like a banjo, a violine and tablas and they just started to record sketches and songs. Hammouda's musical backround leads to a widespread range of influences while growing up, before he got into producing hip hop and electronic music. For Steinhoff, the transformation from an electronic music producer into a singer/songwriter wasn't that new too, as his first musical steps have been routed in band music. Until his late teenage years, when he discovered house and techno, he played drums in a local indie group in Freiburg and for Tonight Will Be Fine he now also freed his old drum kit from cellar dust.

After the duo felt that their musical communication elevates into something more profound then a session thing, they provided themselves with additional instruments like new guitars, claves, an accordion, a piano and more. Initially the songs were very rough and sketchy. Musical ideas that did not have a real song structure. Then we started to arrange the tracks and added our voices and lyrics.' both reveal. Their charming singing covers almost the whole album with a characteristic sense of deep winking melancholy. Their lyrics are exercising the possibilities of words and are inspired by life, the world and all the those questions a human can ask in his time on earth. At some point both started to show their new songs to some friends and they liked it and encouraged the duo to move on. Somehow one of the tracks landed in Toshiya Kawasaki's mailbox. He instantly fell in love with it and asked if they would like to do an album for Mule Musiq. They did what was asked and after some reformatting and reinventing Tonight Will Be Fine originated 13 songs full of sweeping acoustic guitars, airy rhythms, piano melodies, gloomy accordion emotions, touching voices and a bunch of other exotic instruments, done without the help of electronics. They all form Elephant Island' - an incredibly inspirational place where impressionistic lyrics dance gently with kinetic acoustic music that comes out of plain jamming fun. The melange of a structured song base and free improvisation injects all songs a loose feeling. And shows two handsome fellas carving out their own musical utopia. It is a warming one, full of hope and musical freedom powered by an unabashed instrumental playfulness.
nstrumental playfulness.





É a5 | soliloquy

With House Warming - Andy Vaz returns with his 3rd full lenght album on his own Yore Imprint. Due to Andy's half Indian roots, he is lucky enough to owe a Beach House just outside of Mangaluru, South India in the State of Karnataka. - where most parts of the Album were written over a period of 6 months. In this totally isolated, entirely tourist free hidden spot, which had become Andy's second home over the past years, he found himself away from the usual routines of western life, to find himself in a position to simply sit down and create. The result is House Warming". As the Title suggest's - think of house, sure and no doubt- but here on this album, thought all the way thru from beginning to end. The result then is House Music in all it's aspects: The Soulful, the deep and the raw or if you want - Deep House, Acid House, Garage/Vocal House - the joints range from downtempo, elektro and even hip hop beats. Oldschool you may think Maybe in spirit, as entirely produced with analogue synths & the roland series from 808, 909, 505, 606 to the original 303, but used in a modern studio environment. Andy Vaz is someone who has been around long enough to know how to programme his very personal idea's into the music - without denying influences such as Detroit, Chicago and New Jersey, to create something that goes further than a simple reflection of the past. Deep isn't a genre, it's a feeling. A warm feeling most of all. Be invited to come and see if you'll find it here.

Norman Jay MBE presents his latest compilation, titled 'Good Times Skank & Boogie', set for release 9th October 2015 on Sunday Best Recordings. This is his first compilation since 2011's Good Times 30th Anniversary Addition and follows on from his hotly anticipated Good Times Goes East party at St John Church at Hackney on 29th August.
Norman Jay is undoubtedly one of the finest and highly respected DJs in the world today and yet again pulls from his impressive collection to provide the ultimate eclectic selection.
For this 12th compilation, for those of you counting, Norman kicks off with St Germain's version of Henry Mancini's Pink Panther Theme. A cult favourite from 2004s Pink Panther Penthouse Party album, it of course immediately brings Peter Sellers to mind and a smile to your face. Next up former Uniques front man Slim Smith's Everybody Needs Love is a classic from 1968, cut at the legendary Duke Reid's Treasure Isle studio. Penned originally by Motown heroes Norman Whitfield and Eddie Holland and covered by household names including The Temptations and Glady's Knight & The Pips, Slim's version became something of a signature tune until his mysterious death in 1971. Sticking with Motown, Stevie Wonder's Living For The City is up next but it's the Michael McDonald rendition from his 2008 album Soul Speak, which proves the man who gave us the sublime Sweet Freedom had lost none of his class 20 plus years on.
D-Influence's Good Lover takes things up and brings them closer to home, to the streets of London infact. After a couple of independent releases the band, who had strong connections to the London Jazz and Soul scenes, served up this contemporary boogie tune as part of their 1992 debut long player for East West. They would subsequently score hits as a production team for a number of British R&B acts. Homegrown soul continues with Paul Johnson's Better Than This, released here via longstanding UK soul imprint Expansion to deserved acclaim last year. It's quality and appeal are simply timeless, whilst master Dego and Kaidi's mix adds a classic 80s soul dimension to proceedings.
The Chi-Lites I Keep Comin' Back To You and The Real Thing's Love Takes Tears continue and expand the 80s theme, bringing in 2-step and boogie, as does Deodato's Never Knew Love from the same period.
We switch again with Delroy Wilson's Better Must Come, a massively popular sufferers lament from 1971 by this former Jamaican child star, it would go on to be used in election campaigns by various Jamaican political parties. Kent People by Laurel Aitken & The Gruvy Beat is the next one out the box and was the flip to the 1969 anthem Skinhead Train. It features the UK's top reggae band of the era The Rudies, who along with Aitken, the widely-proclaimed Godfather of Ska, comprised of Earl Dunn (lead guitar), Trevor White (bass), Sonny Binns (keyboards) and Danny Smith (drums). They would go on to enjoy UK chart success backing singer Freddie Notes before they evolved into Greyhound. From the same year Splash Down by The Crystalites is another slate that ignited dance floors in both Jamaica and the UK upon release. Some of you will have noticed the rhythm track is the same as that of the earlier Kingstonians' best-seller, Sufferer, which came courtesy of legendary producer Derrick Harriott.
As the end draws close The Stone City Band featuring Rick James serve up some hard edged boogie, hotly followed by a classic Tom Moulton slice of late 70s disco courtesy of The Fantastic Four and their I Got To Have Your Love. If that doesn't have you dancing then Chanson's superb Don't Hold Back featuring James Jamerson Jr. on bass will leave you no choice. Classic Good Times indeed.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Building on her first LP April Song Sara Mitra draws folk blues and psychadelic influences into her second LP. Recorded and produced by Ben lamdin / Nostalgia 77. The LP was previewed by Gilles Peterson on BBC 6 Music & Sara conducted an interview feature with Jamie Cullum on BBC Radio 2
Press quotes include the following:
Her skill as a songwriter and honesty as a performer shine through" Mercury Prize Recommends
Especially talented" The Daily Telegraph
Fresh sounding and free from cliche..., Sara is left to her own special devices and nails a good melody everytime." Blues and Soul Magazine
Mitra has a really fresh-sounding voice: a great night" The Sunday Times
I love her voice, I love her Englishness." Gilles Peterson

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch,

Julian M, is french and is taking over right now, releasing here his first track on Briquerouge, But the man is no beginner, having released on Catwash, Homecoming, Denote, to name but a few and of course recently on our own RZ Muzik, His music is deep, acid, techy and ready to please any crowd, Ange Siddhar is working for Laboratory Records and works with legendary artists such as Ron Carroll, Paul Johnson or Chris Count and now teams up with Illan Nicciani on several House project, They have a strong vinyl lovers community following their releases and just joined the label with 'The Show'

Jepe was one half of John Waynes who already release on Brique Rouge and is now one of the most respected producer from Portugal, Actually living in Berlin, he has released on Get Physical, Blossom Kollektiv or MuleMuziq, Jepe's tracks have a very high level of quality, True House Music,

And last but not least, our good friend from Switzerland, mr Salvatore Freda, With the machine-driven futurism of Detroit in his step, and the bounce of Chicago in his shadow, Salvatore Freda is a pure vinyl DJ from Lausanne, Switzerland. With a production career that began in 1997, Freda has built up an impressive discography over the years. His music has touched some of techno and house's most respected labels including Trapez, Music Man Records, Liebe Detail, Freerange, Area Remote, Push Communications, Dessous, Nightvision, and Cadenza.

Early Support:

Dubfire / Nacho Marco / Matthias Vogt / Tyree Cooper / Ame / Clive Henry / Renato Cohen / llorca / Blacksoul & many more

Audio Plants proudly presents the extraordinary 2 x 12inch compilation of best tunes for home listening and sofa dancing, containing warm electronica, deep drum'n'bass, ethereal art-core and hypnotic broken beats with out-of-this-world vocals. It represents the combined forces of artists without boundaries and borders, connecting together Russia, Ukraine, Poland, Belarus and Estonia. Like every Audio Plants release this beautiful crystal clear vinyl was thoroughly mastered by well-known artist and sound-engineering wizard ENEI.

Freestyle Records is immensely proud to announce the release of this new single from new signing Kalbata & Mixmonster - Prisoner In Love, which is taken from the forthcoming stunning album Congo Beat The Drum.


Kalbata & Mixmonster went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.


A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by. The stunning and totally authentic results evoke the heyday of Jamaican music - and on 'Prisoner In Love' legendary vocalist Little John, regarded by some as the first dancehall vocalist, hits just the right feel on this mellow, down tempo number. His voice floats alongside the ethereal piano and on the money drum patterns and deep bass lines perfectly.


On the flip - special guest Kutiman drives the CRB organ on this instrumental version excursion of Prisoner In Love - proper old school JA style!

Newly established music connection House is OK from Frankfurt and Zagreb is raising the roof with the upcoming We Make Music Vol. 1 release. Get into the party mode with Janis, Oliver Achatz, Homeboy and The Citizen's Band this December. We Make Music opens with JANIS 'Mind Made Up'; a reminder of the early Frankfurt House sound with a scent of the Soylent Green Remixes from the late 90ties. A distorted Techno siren that evolves over a tough and jacking 909 groove and finally leads into blissful deepness. Homeboy, who got some attention with his playful Hypercolour release, brings out the edgier and deeper sound in 'Sedam'; a track based on the elements of classic House, whilst breaking the borders through its arrangement and musical form. The jazzy synth riff that locks to a hypnotic 7/4 groove is what makes this track a quality gem. Previous support on Jimpsters Freerange podcast shall suffice as evidence. The flip-side starts with Oliver Achatz' track: 'It Won't Last'. Oli, being the sentimental one in this joint, proves that House music can work with a very sensual touch. The smooth and warm use of analogue synth lines combined with suggestive vocal samples, are played over a steadily drifting rhythm. This compound, of an almost meditative nature, will provide the perfect atmosphere for early morning club hours. The Citizen's Band, one half of Arto Mwambe, closes the compilation with a remix of Janis' 'Mind Made Up". TCB shows that a track doesn't need much to get the crowd jumping and the party working, by returning the tune to its basic elements and making it a club banger for the 'heads". We Make Music Vol. 1 is only the first out of the three upcoming releases set to shake your solid house ground.