Search:j key

First release on Saucy Lady’s own new label Dippin’ Records features double sider smashers. Starting with the A side, cover of Carly Simon’s Why, a classic funk tune produced by Nile Rogers that got a fresh new boogie revamp, produced by Saucy Lady herself and Yuki “U-KEY” Kanesaka.

With a more dance-floor friendly up-tempo treatment, it will guarantee hands up in the air and hips moving round & round ‘n side to side.

Flip side is another heater, a cover of the 80s hit slow jam One More Time by Phil Collins but sped up and turned into broken beats flyness, followed with a deep house remix produced by Daisuke Miyamoto, member of Orienta-Rhythm who’s had numerous notable releases with King Street Sound.

B side ends with an acappella version so you too can play with your own creative version of the classic. With limited vinyl copies, you don’t want to sleep on this.

Early DJ support so far from AtJazz, Dave Lee, Yam Who?, DJ Spinna, and Star Creature label.

Black Vinyl Repress

We have a proud introduced 4th vinyl-only release from our original series, featuring Romanian artists Funky Trip with two original cuts and Barac on remix duties. Titled “Alpha EP”, the record delivers a solid dose of inspiring minimal rhythms mastered by Mike Grinser at Manmade Mastering Berlin.


Funky Trip stands out from the Romanian new wave of electronic music producers, exploring an endless universe of distinct sounds and emotions reflected on his releases with Rawax, Nazca, Stamp Records, Artreform and others. On this EP, he invites acclaimed local artist Barac of Moment Records to join in and leave his fingerprint on the title track, laying out a soothing rhythm influenced by psychedelic elements.

Side A opens with the title track, “Alpha”, an immersive minimalistic composition powered by dreamy background atmospheres, swinging drumming patterns, a solid wobbling bassline and mysterious vocals that seamlessly intertwine with tension-building chords and breathing moments. Following, “Dreams” gets a bit more groovy, focusing on the percussion, the punching keyboard stabs and the phased effects that run throughout the track, all while having a subtle touch of melancholy radiating from the piano and complementary layers.

On the flipside, we find Barac‘s reinterpretation of A1 dropping a twisted progressive sound that constantly evolves as wave upon wave of spiralling synths and chugging drums mix in a massive dancefloor tool perfect for peak-time moments at any party.

Artwork by Jose Alvarez


Early support by Gescu, Sepp, Nu Zau, Mihai Pol, Sublee, Charlie, Lumieux, Tania Vulcano, Costin RP, Iuly.B, Crihan, Primãrie, Zenk and more..

50th ANNIVERSARY EDITION
Heavyweight Vinyl 45 RPM Cut / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer / 30x30 cm insert with interview to Steve Kuhn by Tony Higgins printed on 250 gram Favini Lanilla Yellow / 20 Pages 21 x 30 cm "Real Book" with transcripts of the songs in the "Real Book" style, handwritten by The Maestro Carlo Spanò with main theme, chords and lyrics printed on 120 gram Shiro Eco paper, 100 gram Favini Crush Alghe. Carlo also edited an introduction with technical analysis of the session, which solves some of the little mysteries around this music gem.

Personnel:
Steve Kuhn - Vocals, Piano
Airto Moreira - Percussions
Billy Cobham - Drums
Ron Carter - Bass
Gary McFarland - Arranged by


Notes:
The album features the group playing Gary McFarland arrangements of Kuhn's compositions, accompanied by a string section on several tracks, with Kuhn delivering stream of consciousness lyrics in an unplanned and largely improvised fashion in the studio. However, that wasn't the only surprising aspect to the session. Airto Moreira's appearance was more by chance than design, he having just popped by the studio, again, unplanned. The 'Steve Kuhn' album is all the stronger for these extemporaneous and serendipitous elements and showcases a band at the top of their game; tight and funky yet relaxed and flowing like molten gold, with stabs and washes of keyboard from Kuhn. Splashes of free playing enter the session, but the band never stray too far from a melodic and harmonious centre of gravity. Kuhn's deft keyboard skills provide melodic embroidery to the impressive rhythmic textures and tonal colours of Carter, Cobham and Moreira. As if the music wasn't enough, the album is given extra significance by the fact that, within a few months of the recording, McFarland would die after being mysteriously poisoned by methadone in a New York bar. In a sense, it is a valedictory album from McFarland, channeled by Kuhn and the band.

It's among the hardest of Kuhn's albums to find so this reissue is most welcome. Luxuriate in the glow of Kuhn's Fender Rhodes and the pliant funky bass of Ron Carter; immerse yourself in the percussive interplay of Moreira and Cobham, a pairing that has rarely sounded so good. This is such an exquisite album; you will lose yourself in its delicate power and find yourself coming back to it again and again.

Established artist management company Palm Artists will be launching a new label this May. Named Palm Recs, the maiden release comes from fast-rising British-collective Girls Of The Internet in the form of the below single, Above.

The group described how Moloko’s The Time Is Now inspired them, stating: “We had the words running through our minds for a few weeks, just thinking about where they took us. It sparked us into writing Above. All the best love songs have a shot of poison. Musically, we were back at Patrick Adams meets Basic Channel.”

It’s a blissful five-minute offering, made up of rounded percussion and a warming underlying groove. Gentle kick-hat combos make up the overarching rhythm, whilst soothing vocals accentuate the track’s reflective nature. Dreamy chords soon meander into rolling key chimes to form an emotive, feel-good cut.

Girls Of The Internet have swiftly risen up the electronic music ranks since their debut release four years ago. Known for an eclectic disco-inspired sound both behind the decks and in the studio, their productions have found a welcome home on Defected, Classic Music Company and Heist Recordings in recent years, receiving support from Nemone, The Blessed Madonna and Axel Boman in the process.

Palm Artists is an East London based artist management company with over a decade of experience in developing some of the most exciting and successful musicians in the UK. Managing the likes of Gorgon City, Sonny Fodera, Adelphi Music Factory and a myriad of other industry heavyweights, the company has received several accolades over the years including; the BBC Sound Of 2019 while releasing multiple chart-topping singles, critically acclaimed album campaigns and delivering global tours for their roster. 2021 will see Palm Recs release a series of singles and remixes from some of their favourite up and coming acts, with producers such as Preditah, Fideles and many others soon to be debuting on the imprint.

Perc Trax is proud to unleash the second EP of remixes of tracks from Perc's Resident Advisor recommended album 'The Cut Off'. Following on from EP1 this collection of remixes again covers a range of sounds from cutting edge Parisian deep techno to the sound of the UK underground scene.

Opening up the EP is Mac Declos, a breakout star of the Paris techno scene and a key member of Anetha's Mama Told Ya crew. Mac takes 'Full Goblin', one of the more uncompromising tracks on 'The Cut Off' and transforms it into a slice of grinding stripped back techno, recalling the glory days of Daniel Bell's DBX project.

Next up Sweden's Peder Mannerfelt, who has a long association with Perc & Perc Trax, remixes album standout track 'Static' which features his regular collaborator Sissel Wincent. Peder's version of 'Static' recalls classic Detroit electro with the addition of gliding harp runs providing a glistening counterpoint to the jabbing drums and Sissel's deadpan vocal delivery.

On the B-side Perc Trax new boy Million follows up his recent 'Six Ways To Die' EP taking hold of 'UK Style', originally one of the 'The Cut Off's more abstract tracks, energising it into a driving techno / jungle hybrid with just a sprinkling of classic UK rave to raise a smile on the face of the most exhausted raver.

Finally UK underground legend Boy Pete drags 'Imperial Leather' to the nearest free party, dirtying up Perc's epic original delivering a remix that will keep any 4am dance floor bubbling with energy. The relentless energy that Pete's productions are known for is all over this remix as it continuously powers forward.

Side A’s “Intergalactic Love Song” by the Diddys & featuring Paige Douglas is a vocal version of the Charles Earland's instrumental classic (who also produced the track) & is a disco-tinge jazz-funk groover that you will want in your bag. It glides across the dancefllor with a breezy ease & pulls you in.

B. side
On the flip, we have“Searching The Circle” by Barbara & Ernie from the classic psyche-folk soul album “Prelude To …” (Ctollion - SD 9044), produced by Joel Thorn. It’s a wonderfully weird little record that has a sound that's unlike anything else I can think of.

This trippy early-70s folk-jazz-soul nugget featured here from guitarist Ernie Calabria & singer/keyboardist Barbara Massey (back-up for Cat Stevens, amongst others). Arrangements are by the pair, but Deodato also had a hand in the record too along w/ Grady Tate on drums, Ralph McDonald on percussion, & Sam Brown on guitar.

It holds a righteous groove undercurrent that recalls Richard Evans or Charles Stepney. Massey’s vocals have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! Completely

BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Over Under marks a significant evolution in Secondo's artistic journey, showcasing a refined balance between the functional and the experimental within house music and techno. The release reflects two decades of musical exploration and innovation, while drawing inspiration from his early production style. Now, fueled by the lessons learned over the years, Secondo returns, synthesizing new ideas from his roots in the ’90s.

Opening with the beatless, kosmische pulse of Occhi Nuovi, Over Under crosses different tempos and moods, shifting from club-ready tracks — like the alien funk of the first single Unlikely Companions and the album’s tense coda Nowhere Man — to the bubbling, mid-tempo step of Slow Space, and deeper, more reflective moments like the modulating jazz moods of the title track and the centerpiece Solar Funk. The album’s progression ebbs and flows, guiding the listener through a carefully crafted narrative. Narrative, it seems, is key to Over Under.

Australian producer and current Berlin resident Holo makes his highly anticipated return to Shall Not Fade with his third EP on the independent Bristol-based label.

Known for his signature sound that blends emotive melodies with infectious grooves, Holo has carved out a space for himself as a forward-thinking artist with a deep understanding of mood and atmosphere. His recent releases, including Nights Over Melbourne and a self titled LP in 2024, have both garnered widespread acclaim for their evocative production and seamless fusion of house, techno, and atmospheric elements. With every new release, Holo pushes the boundaries of modern dance music, establishing himself as a key figure in the underground scene.

Pink Wax delivers warm, hazy deep house at its finest, showcasing Holo's distinctive talent for creating music that evokes lasting memories. The EP is a stunning blend of lush synth lines, ethereal vocals, and smooth drums, offering a timeless interpretation of modern dance music.

One the most prolific talents in the last forty years of house music, the ever-innovative Jerome Sydenham goes toe-to-toe against the emerging talents of Berlin's mysterious Cosmic Soldier, working together to deliver a potent two-tracker as the weighty first release of 2024 on Planet E.

Showcasing a new angle of the eternal, quintessential blend of house and techno on Carl Craig’s legendary imprint, ‘Deeplight’ soars on impressive layers of psychedelic texture and raw percussion as a querying, prophetic vocal leads towards a valley of urgent chords.

Mixed with the same undeniable weight and power, the hammering, insistent ‘Black Dog’ skirts with darkness before upending it with vintage Detroit keys, waves of euphoria rolling out of the gloom to move the dance.

Dana Ruh offers up the aptly titled ‘This Journey So Far’ 2x12’’ project via Yecad here, comprised of eight original cuts.

As a long standing and widely respected figure in the world of underground house and techno through her releases on the likes of Slices Of Life, Ostgut Ton, Cocoon, Cave and of course her own Brouqade, Dana Ruh’s reputation stands tall as one of the finest purveyors of this sound. Amongst her releases, Dana maintains a heavy tour schedule taking her across the globe each year to many hotspots in key cities, here she marks another milestone in her career with a 2x12’’ release, entitled ‘This Journey So Far’, as a musical reflection on all that’s led to this point.

Across eight tracks Dana presents her distinctive style which often straddles the lines between house and techno, opening with the airy, swinging dub aesthetic of ‘Case Of V’, while diving into deeper, murkier realms on ‘Bruv’. The B1 ‘KMA54’ then shifts focus towards choppy breaks, textural tension and hypnotic voices before B2 ‘Babel’ lays down a true dub techno feel across ten minutes of crisp drums, spiralling echoes and expansive reverberations.

Kicking off the C-Side is ‘MF Now’, stripping things back to a shuffled, bumpy rhythm section, resonant synth chimes and billowing textures. ‘Grey With Some Light’ then leans into a more experimental glitch realm via twitchy oscillating percussion, unfurling atmospherics and drifting keys. ‘The Look’ leans back into House territory with raw stabs, sax lines, metallic chimes and vacillating low-end tones before ‘Song For The Lonely’ concludes the project, encapsulating the essence of deep house with ethereal pad swells, circling stab sequences, low-slung drums and cossetting subs.

360 mcn white-white light cardboard paper / one side only hand plasticization / 2 separated parts prints / hand gluing / PVC outers / original artwork / gatefold sleeve / Bandcamp limited edition 30x60 cm insert with extended liner notes by Tony Higgins and Interview with Babs Robert and Sébastien Gorlé with exclusive pictures and self-portrait by Babs Robert himself printed on GF Smith "Takeo Tant Select" Canvas Paper tip-on left jacket panel / Exclusive never released Memorabilia from Babs Robert's vault.

Personnel:
Babs Robert - alt sax, tenor-sax, electric tenor-sax, Bin Recorder, Acme siren, Chinese-bell, sleigh-bells, maracas, tambourine,hand-rattle,claves)
John Van Rymenant - baritone-sax, fluegelhorn, Bala, tambourine, sleight-bells, cowbell, triangle, claves
Johnny Peret - vibes, bongo's, cowbell, maracas, castanets, rattle-snakes, tambourine, drums, woodclock, trinagle
Johnny Brouwers - piano, prepared-piano, triangle, cowbell, sleigh-bells, maracas, caves,hand-rattle, guiro, woodblock, tambourine
Paul Dubois - bass, triangle, cowbell, claves, rattlesnakes, hand-rattle, woodblock, tambourine
Michel Gobbe - bass,Chinese-bell, claves
Robert Pernet - drum, tambourine, seven-notes M'Bichi, guiro, alarm-siren, home-made metal xylophone, African telephone-drum, triangle, sleigh-bells, Siku

Notes:
Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reinhardt, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

The Love Planet performed in the main clubs of Brussels, such as Blue Note, Pol's Jazz Place, and Smog as well as in major musical events throughout Belgium including to big festivals in 1969 - the Avant-Garde Festival in Ghent and the First International Jazz Event in Liege – where the Love Planet shared the bill with Miles Davis - and the Bilzen Jazz Festival in 1970. The contrast between the musical architecture of the themes and sonic freedom in the improvised playing perfectly illustrated the polymorphism – an order within disorder – which the Love Planet aimed for.

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (dru- ms). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion. This is the first official re-release
of the 'Babs Robert and the Love Planet'. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resona- tes some fifty years later. Come with us to the Love Planet. (Tony Higgins)

Hot on the heels of A Promise In The Cold Night, LVCA returns to Bordello A Parigi with The Wanderer. Building on his diverse and unique style, genre cross-pollination sits at the heart of this four tracker. Renowned for his analogue live sets, LVCA’s passion for the machine smoulders on this EP. Acid, electro and new beat are central tenets, with the synthesizer taking centre stage. A litany of influences is drawn upon. Crashing snares countered by bright bars, melodic swirls threatened by machined vocals, drum rolls and key stabs marking shifts of intent. Speaker cones conjure late night basements, darker shades churn and melt in the fog and strobe. And throughout, genres and styles converge. Chicago house thaws the frigid severity of wave, italo echoes offering a distant warmth against colder tones taking hold. A 12” that illustrates the dynamic depth and the vibrancy of a true talent.

Marbles is the legendary 1970 proto punk / dance classic from John McLaughlin’s US debut album 'De?otion', recorded at the time in which he played on Miles Davis' Bitches Brew and taped the Record Plant session with Jimi Hendrix.
Marbles didn't just deliver jazz rock's most danceable 4/4 beat, played by Band of Gypsies / Electric Flag drummer Buddy Miles. It is also centered with a once-in-ageneration bass line performed by Billy Rich. Larry Young's otherworldly Hammond textures predate a lot of what synthesizers were about to do much later, and the blowtorch energy emanating from John McLaughlin's cranked amp went beyond what most would had dared during the defining era of heavy rock guitar. An apex achievement at the intersection of jazz rock, guitar rock and dance music without parallel, before or since.
Background: John McLaughlin arrived in New York in 1969 to join Tony Williams' new group Lifetime which also featured Larry Young and eventually Jack Bruce (of Cream). On the second day in town he found himself in the studio with Miles Davis, recording 'In a Silent Way.' His playing would also take center stage in Bitches Brew, Jack Johnson, On The Corner and several other Davis key works of his much beloved first electric era. In between a busy schedule with Lifetime and Davis, McLaughlin also recorded two solo albums in 1970, 'De?otion' with an all-electric group and ‚'My Goa|’s B?y?nd' as its acoustic counterpart. By the time he formed his group Mahavishnu Orchestra in 1972, John McLaughlin was firmly established as the most important practitioner of his instrument of his generation within and well beyond the emerging jazz rock / fusion genre, and he has continued to evolve and surprise until today.
Here, a thorough remaster is supplemented by a new and throbbing techno version by Stefan Goldmann.

Brian Ellis is Egyptian Lover’s keyboard player, and is ½ of the band “Campus Christi” with Peanut Butter Wolf
Art & Photography: Alaia Pareja

Kim Rapatti, aka Mono Junk, is a key figure in Finnish techno, known for his deep, hardware-driven sound. A firm believer in analogue synthesis, he has been shaping raw and hypnotic club tracks since the early '90s, drawing inspiration from Detroit pioneers like Derrick May and Juan Atkins. His releases have appeared on his own imprint, DUM Records, as well as Skudge, Forbidden Planet, and most recently, Cold Blow—earning him a dedicated following among DJs and collectors.

Recorded in Turku in 2002 using the Korg Minikorg 700s, Loving Your Mind showcases Mono Junk's signature stripped-down grooves and live hardware improvisation—an essential pick for anyone seeking an authentic slice of early-2000s machine funk. Alongside the title track is Gamma, a previously unheard production that was commissioned as an exclusive for a highly regarded mix series, further cementing Mono Junk's status as a trusted name in underground techno. Built around a percussive groove, a deep electro-funk bassline, and a four-to-the-floor pulse, the track unfolds in an atmospheric haze, balancing dancefloor functionality with hypnotic depth.

The B-side features remixes from Katerina and Sansibar, two of Finland's most notable international breakthroughs in recent years, known for their modern yet timeless club productions that nod to classic techno and house.

Katerina, a versatile DJ and producer with releases on Rekids, Running Back, and Cómeme, transforms Loving Your Mind into a high-energy techno duet, layering her own vocals over the original vocal track, with her infectious synth lead as the icing on the cake.

Sansibar, one of the fastest-rising names in the underground with releases on Kalahari Oyster Cult, WARNING, and Émotsiya, delivers a darker, four-to-the-floor rework—bringing a sinister edge while maintaining the raw energy of classic machine funk.

Here comes a true South American LATIN JAZZFUNK treasure from Argentina!!!
Sound Essence is more than proud to present these lost recordings from 1974 to music lovers again in all their glory.
CARLOS FRANZETTI, who has once again been in the spotlight in recent years thanks to the re-release of his strong late 70s JazzFusion record "Graffiti", was also in charge of this record called DEDOS. The story behind:
In 1974, after CARLOS FRANZETTI was living in Mexico and worked as the musical director of FERMATA International, he returned to Argentina. In Buenos Aires his friend MOCHIN MARAFIOTTI was recently appointed A&R at the local recording label MUSIC HALL . Marafiotti asked Carlos if he wanted to record some of his music and he answered that he had in mind a group playing LATIN JAZZ . After a couple of meetings they came out with the idea of covering the RUBEN RADA tune DEDOS recently recorded in the US by AIRTO MOREIRA along with the OPA TRIO. Carlos contributed his own composition "Doce y Diez" . He selected the group consisting of his friend and member of the uruguayan Band TOTEM, Ruben Rada on percussion, Ricardo Lew on guitar , Emilio Valle on bass and Osvaldo Lopez on drums covering keyboards and vocals himself . This formation recorded tracks and vocals in a three hour session and the next day the track was mixed. Music Hall released "Dedos" and "Doce y Diez" on a single record and after months of discrete airplay and not so good sales the project for an album was draped.
"It is a rewarding experience to see a re-release of this two songs a half century after the original release.
It was hot and it looks and sounds even hotter now. I love it!" (Carlos Franzetti, New Jersey, December 2024).

As 2024 unfolds, DBB008 emerges like a breath of clarity amidst the noise. “Fresh Air” by Ober Dada—an alter ego of Keyn Acid—is a journey between the mechanical and the organic, the familiar and the unexplored. Out both digitally and as a 200-limited vinyl edition, “Fresh Air” invites listeners into a world where space expands, time is unbroken and every beat matters.
Limited 200 copies!

Parade Ground march back to Dark Entries with The Hidden Side, a compilation of B-sides and unreleased material. Brothers Jean-Marc and Pierre Pauly started Parade Ground in Brussels in 1981. Their Dada-laced brand of post-punk fuses propulsive drum machines and icy synths with skeletal guitar riffs and Jean-Marc’s distinct and powerful voice, pioneering the subgenre of emotional body music. The brothers met Daniel B. and Patrick Codenys of Front 242 in 1982, marking the beginning of an enduring collaborative partnership. In 2011, Dark Entries released The Golden Years, a compilation chronicling the band’s A-sides and exposing them to a new generation of EBM enthusiasts. The Hidden Side continues this mission, illuminating lesser-known facets of the band’s oeuvre. The tracks here were written between 1982 and 1989, and showcase Parade Ground’s range of styles - all cold, dark, and brooding. Tracks like “Riddle in the Stain Glass Window” and the previously unreleased “Looking Through Keyholes” see the band in menacing coldwave mode, rocking chorus-drenched bass guitar and blasts of analog synth. The band’s dancier proclivities shine elsewhere, like on “Off-Balance” or the supremely funky “Hollywood (The Sexiest Fish),” a floor-filler driven by bass guitar and thumping digital drum machine beats. Also included is “Marble Mind,” a previously unreleased latter-period track from the band recorded by Patrick Codenys at 242 Studio. The Hidden Side includes liner notes featuring lyrics and a photo of Jean-Marc and Pierre Pauly. Additionally, a newly remastered edition of The Golden Years will be released along with The Hidden Side.

Repress!

Last summer, London fusionistas Lokkhi Terra joined forces with former Fela Kuti keyboardist Dele Sosimi for the four track album "Cubafrobeat", an ingenious blend of Cuban dance music and Nigerian/Yoruban Afrobeat. MoBlack Records present dope up-tempo re-imaginations of "Cubafro" by Peppe Citarella who contributes an uplifting latin jazz infused interpretation, and Armonica, Francesco Chiocci and MoBlack who serve downright tantalizing afro house renditions oozing with their respective landmark style.

The Magic Movement proudly presents Bosquemar's new EP "Manco"
The title track is a remarkable showcase of Bosquemar’s distinctive sound, combining field recordings as the main ingredient, acoustic instruments, electronic rhythms, and dub influences. Rodrigo Gallardo, a key figure in the South American downtempo scene and ex-member of the renowned band Matanza, adds his well known vocal presence to the track. His contribution infuses Manco with authenticity and depth, creating a rich, multi-layered listening experience.
On his new EP, Bosquemar invites listeners on a profound sonic journey, transcending typical boho aesthetics to explore deeper psychedelic territories. This single reflects his mastery of folktronica, blending traditional and electronic elements to craft a transformative sound that resonates deeply with the listener.
With Manco, The Magic Movement continues its tradition of curating innovative music that pushes the boundaries of organic and electronic fusion. By merging traditional instruments with modern production techniques, the label showcases the soulful depth and creative vision that define its releases.

The Bombillas have emerged with two new original compositions in their recognizable sound of psychedelic eclectic soul meets world funk. "Hatif" b/w "Kidi Bloom" takes you on a narrative journey into the unknown.

Imagine speeding down Highway 10 into the desert at sunset, top down with one hand on the wheel; you end up all alone at night and hear a mysterious voice calling, screaming in your ear, but nowhere in sight. This imagery sets the stage for Side A, "Hatif." Lead by a driving phased-out strumming acoustic guitar and interweaving melodic lines from David Michael Celia on Keys and Tyler Nuffer on Electric Guitar, "Hatif" takes inspiration from the psychedelic funk and rock sounds of North Africa and The Middle East in the 1970s. Held together by the steady groove of Bassit Josh Wiener and Drummer Joey Campanella, The Bombillas explore sonic imagery and imagination in their interpretation of the Arabian Folklore, Hatif.

Then, on Side B, The Bombillas bring it down a notch with "Kidi Bloom." Featuring Patrick Bailey (Jungle Fire) on lap steel, "Kidi Bloom" continues with the desert imagery and mystical encounters one may find at night, strolling through the endless open landscape. Again, held together by Wiener and Campanella's solid groove, Celia and Bailey weave their melodic voices, creating a conversation of question and answer, or human and higher power. "Kidi Bloom" takes an ethio-inspired groove and flavors it with stoned-out psychedelic funk and country twang for a truly unique cinematic experience.

Forgotten in the mists of Dutch electronics, when Anacalypto Records began their quest for Fairytails, they uncovered more than they bargained for. Dusting off a 1994 DAT, lettering began to reveal itself—four tracks from the original release and two unheard, unreleased works! A decision was made: two tracks from the original 12” for Side A, and the two new discoveries for Side B.

The spellbinding Fairytail Track 3 opens the record. Rich basslines and ruffled beats dance as strings soar and swoop in this fantastical floor-filler. That touch of fantasy twinkles throughout the entire EP, with dreamy mellowness weaving through key shifts and stepping grooves. This dreamy atmosphere carries into Fairytail Track 4, where snares rasp and snap above delicate notes and mischievous pads.

The flip is dedicated to the DAT discoveries. Fairytail Track 5 is a joyous romp through twilight woodlands and sweaty basements, with cascading chords and lively piano lines reveling over earthy patterns of percussion. The journey concludes with Fairytail Track 6, a bright and magical finale. Overtones of rave energy glow in this ageless, tongue-in-cheek melody, infusing the EP with a timeless vibrancy.

Four trance-dipped house treasures returned to the faithful on this remastered gem that will sprinkle happiness on any floor.

Spin Desire Records is proud to present its first release of the year, a stunning EP by Namur, key member of the renowned Parisian collective :

Beau Mot Plage

Equally talented as a producer and DJ, Namur delivers a new EP featuring four captivating tracks that skilfully blend house, proggy hints and touches of breakbeat. With deep grooves, mesmerizing textures and finely crafted soundscapes which make for a perfectly balanced energy.

This release is sure to connect with both dance floor regulars and those seeking refined electronic music. We could not be more excited to unveil this one as it’s been in the pipeline for quite a while now. A hot take on modern days tech house and timeless addition to any record collection.

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

Cerrone has been a musical icon beyond Disco for 5 decades. He keeps inspiring the greatest names of electronic music and improving his way of playing & creating music. With “Disco Symphony” Cerrone revisits in a symphonic way 21 of his greatest hits performed with the Symphony Orchestra of Cannes (+50 musicians) directed by the legendary Randy Kerber , also featuring Cerrone himself on the drums & an additional bass-guitars-keyboards band playing with the orchestra. Merging the power of electronic music , the groove of Disco and the lyrism and unique touch of a symphony orchestra , in respect of the club Culture Cerrone was born in and with . This performance recorded live will be played in Paris at La Philharmonie de Paris on February 21st 2025, day of release.

Praise Him is a strong gospel styled anthem with even stronger vocals and catchy organ riffs that will lift you up! Jovonn on the mix here, taking this gospel shouter off into the deep territory with some Hammond style keys and tough Brooklyn beats.

In 2016, Universal Music and The Walt Disney Company France presented ‘Jazz Loves Disney’, followed in 2017 by ‘Jazz Loves Disney 2 – A Kind of Magic’, as part of the We Love Disney series.

Produced by Jay Newland, arranged and directed by Rob Mousey, the project brought together talented and renowned artists to pay tribute to the most beautiful and symbolic tunes of Walt Disney’s magic world and render exclusive jazz versions.

The remarkable cast includes Gregory Porter, Melody Gardot, Stacey Kent, George Benson, Madeleine Peyroux, Laura Mvula, Jacob Collier, Bebel Gilberto, Jamie Callum and Eric Cantona.

Since launching her own club night, “Motivation,” back in 2018, B.AI has played a key role in bringing the underground’s club sounds to her home country, China. While introducing some of the scene's most exciting artists to her local audiences, she emerged as one to look out for as well: first as a DJ and quickly thereafter as a producer. Her original takes – a sensitive, highly personal approach to melody and a knack for playing with expectations – crystallized in a slew of A+ releases and a couple of international tours. This trajectory, shaped by taking matters into her own hands and self-empowerment, now sees a logical next step, with the inception of a label that will also operate under the “Motivation” banner and features her own “Hope” EP as its first release.

Sparkling mallets, with synth-pop quality catchiness, open the title track. Rather than further evolving, their two-bar arrangement gets looped over and again, serving as the foundation for a slick FM bass rhythm and a variety of hooks. Although these incline to the bright, the overall vibe is melancholic. In vintage B.AI style, the aptly titled “Hope” is more ambiguous than its patches suggest. Similarly, the vocal this type of palette would call for ultimately comes in the form of aloof, covert musings. A bit buried in the mix, they are most efficient – just like the tension that keeps brooding underneath the surface.

“Murderbot Diaries 1991” turbocharges four-to-the-floor synthetic drums with an arpeggiated rolling bass. The blue note melody on top feels sequenced via a pocket calculator, and the dissonant, electroclash-reminiscent stabs that follow might sound even more angular. The tune is frantic, sinister – and perhaps above all tongue in cheek. It reaches fever pitch with the arrival of a tubular bell theme between the two breaks.

“Once”’s slomo cutoff modulation on the 16th note mid-bass instantly creates a sultry atmosphere that meshes greatly with the pastel cool of the gently delayed DX7 leads. The energy drifts between effortless control and uncertain outcome. These contrasts are amplified as the drums alternate amidst moderation and beat-repeat rendered havoc.

On “Only We Know,” a progressive sine lead lays out the central motif. Yet as briskly as it appears, it makes way for detuned, gliding square waves taking on the same theme. This outlines the track’s structure: as slightly morphed repetitions keep getting introduced almost haphazardly, a dreamlike, mesmerizing ambience unfolds. Techy drum rhythms and a 101-type bass make sure everything stays fuelled. Within the ingenious tapestry of melodies and new twists, it never loses touch with the dance floor. It illustrates B.AI’s club savvy neatly and is therefore a perfect closer for this EP.

People believe that the magic of Muslimgauze works best with looong tracks. Think the same? Then “Al-Zulfiquar Shaheed” is exactly for you! 75 minutes of mellow eastern-style hypnotism. Consisting of only five parts, the album shows Bryn’s ability to create lengthy and detailed compositions filled with Arabic percussion, droning keyboards, vocal samples and ethereal atmospheres.
A strong rhythmic, yet melodic album, that should be in the collection of every Muslimgauze fan. Definitely one of Bryn’s best ever albums!

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

Valerio Vaudano joins the roster of Cinthie’s 803 Crystal Grooves sub-label Collective Cuts with his ‘Lose My Mind’ EP.
Valerio Vaudano ‘: ’I'm a fan of Cinthie and feel honoured to release these tracks on 803 Crystal Grooves! This is the kind of sound I mostly love to play and produce at this time: house sound that blend energy, groove and 90s nostalgic melodies with Detroit, Chicago and Italo flavours. this new EP represents me best and explains better than words. The entire EP was produced using a 90s sampler without using a computer, I'm very proud of
the result! I hope you enjoy it!’’ Title-cut ‘Lose My Mind’ leads, laying down crisp saturated drums, crunchy stab sequences, choppy vocal hooks and bright strings all dynamically evolving throughout for ultimate dance floor impact. ‘Sunday Remedy’ follows with bumpy breaks, a weighty kick
and amalgamation of vocal samples in combination with gritty bass stabs and classic piano chords to perfectly encapsulate the essence of house.
Opening the flip-side is ‘Down The Street’, diving deeper with airy chords, breathy vocal chants and bouncy bass stabs intertwined with a more raw, reduced rhythm section. The aptly titled ‘Smooth As Butter’ then rounds out the release with a nod to the Detroit House sound, fusing shimmering keys with jazzy drums, twinkling chime melodies and lowpitched vocals across its near five minute duration.

Toshihiko Mori – a former keyboard player with Riuichi Sakamoto – has made an EP for Biophon Records using the legendary Prophet 5 synthesizer as the main instrument.

Toshihiko Mori was born and lives in Tokyo. He toured with Riuichi Sakamoto all over the World in the 90s as a keyboard player and rhythm arranger. He also did all the drum programming on Sakamoto´s album Smoochy released in 1995.

Jinen is a different affair though. It contains no drums or sequencers, only improvisations on the Prophet 5, plus the occasional vintage Yamaha VSS-30 8-bit sampler, a few granular guitar pedals and some field recordings from Mori´s walks in the Japanese forests and mountains. Jinen is Japanese for Spontaneity.

"I was thinking Japanese culture, hi-tech and nature, Shinkansen, film directors like SABU, Masaki Kobayashi and Akira Kurosawa, and Riuichi Sakamoto´s first solo album B-2 Unit when I heard his music." (Geir Jenssen, aka Biosphere).

In the third release for 2024, we arrive with a vinyl that only in four tracks represents our sound.

We firmly believe in cheerful rhythms for the dance floor, and also in musicals to listen to and enjoy in any environment.

On the A side, bs as deep shows his roots as a lover of Afro beats and his Latin influences.

For the B side, we have a collaborative work with an incredible musician who travels the world showing his skills on the keys. Lucio de Rosa participates with us for the first time, and in a forceful way.

Without a doubt, this duo will contribute a lot to contemporary music.

The fifth release on Les Enfants Records showcases a captivating EP from Felipe Bravo.

This record features four tracks that skillfully explore diverse sonic landscapes while keeping Felipe's distinctive touch. Side A opens with "Adapt Or Die", an energetic statement track brimming with hypnotic grooves, followed by "High Volatility," a refined piece that blends intricate rhythms with deep, melodic undertones.

Flipping to Side B, "Love That Keys (Priku Remix)" delivers a fresh reinterpretation infused with Priku's unmistakable minimalistic charm. The EP closes with the original "Love That Keys," a vibrant and soulful journey that ties the record together seamlessly.

PulciPerla will unveil “Tatekieto”, their new album, on its release, January 04, 2025, on Prado Records / Cie Pulcinella / The Pusher. This opus will be presented on Wednesday, February 05, 2025, on the stage of FGO - Barbara, Paris (France) during an exceptional launch concert. The eponymous single “Tatequieto” was released on all platforms on November 22, 2024.

Take an iconoclastic and energetic quartet from Toulouse, combine it with a female power trio from Bogotá, shake it up, and you will get Pulciperla!
After an explosive encounter in Colombia in 2019, the fiery trio La Perla and the unclassifiable Pulcinella decided to create an original repertoire: a hybrid, swaying, and sensual music where vocals, saxophone, keyboards, double bass, and percussion blend generously, driving a powerful trance-like pulse. A quirky and striking repertoire infused with bullerengue, reggaeton, funk, and champeta influences, which stirs the fire and gets you moving. The tribal music of La Perla’s percussionist singers merges with Pulcinella’s explosive groove to electrify the audience and awaken their primal instincts!

PulciPerla is composed of :
La Perla: Diana Sanmiguel: vocals, maracas, guacharaca;
Giovanna Mogollón ‘’Roberta Leono’’: vocals, tambor alegre;
Karen Forero:vocals, gaïta, tambora
Pulcinella: Ferdinand Doumerc : saxophones, flutes, keyboards;
Jean-Marc Serpin: double bass;
Bastien Andrieu: keyboards ;
Pierre Pollet: drums

Livy Ekemezie’s Friday Night is widely recognised by DJs and afro-funk aficionados as a UFO (Unidentified Flying Object) grail record. It is one of those rare dance music albums that sounds like a record of its’ time but also has a timeless quality that makes each listen an immensely rewarding experience.

Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.

Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.

Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.

Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

The multi-faceted and multi-talented Alberto Melloni returns once more to Bordello A Parigi to unveil his musical multi-verse. “Lago Lungo”, the title piece, sets the tone for the quartet of tracks. Steady kicks thud next fizzing hi-hats as a rich and full-bodied piano melody takes hold, Melloni’s instrumentation creating sheer peaks and creamy amber plains. “Promised Land” offers a different audio topography. Key stabs are bolstered by incising beats as a late-night italo infused romp undulates from speaker cones. Underscoring the EP are influences from both disco and house, sun-kissed chords countered by textured percussion. These twin inspirations combine in the groove laden “Paradise Pie”. Clean notes are refracted in neon, undercurrents of acid lurking just below the vibrating hardwood floor. The mirrorball takes the limelight for the finale. Breathy, smokey vocals orbit funk dipped lines of “Only You”, warbling vocoders dancing under the glittering beams to the close.

KingCats are a German Show Band from West Germany, formed in 1972 first as AristoCats. They became KingCats in 1976. The lineup was Peter "Pit" Kurz and Norbert "Knox" Rieger on vocals and guitar, Theo Wild (and later, Hans-Jörg Koch) on keyboards and vocals, Eberhardt "Lupp" Krieg on bass and vocals, and Rolf Knauss on drums and vocals. French drummer/singer Patrick Buchmann, alias "Sdinganuff", joined the band in 1980 upon recommandation from Claus Backhaus (Studio 2000, Mannheim, Germany) and saxophone superstar Peter Drischel, alias « Pete Tex ». Before Buchmann’s departure to Los Angeles to study at Musicians Institute, he suggested they record an LP to document some of the band’s compositions which led to the original self titled "KingCats" album in January of 1983.

This rare album was recorded and mixed in Strasbourg, France at Omega Studio by sound engineer Francis Adam, the LP showcases a variety of 80’s unique compositions by Buchmann, Kurz and Rieger. The song "Down In California" gently made its way to the public ear since. Luckily, Francis Adam found the original 16 track, 1 inch tape in early 2024 and saved the original project from desintegration. This long awaited discovery led to this freshly edited, remixed and remastered 2024 version of "KingCats". Produced by Francis Adam, Patrick Buchmann and Peter Kurz, no instruments or vocals were added, and no animals or vegetables were harmed during this process. We hope you will like this new limited edition of "KingCats" !

10, 9, 8, 7, 6… the countdown to blastoff has started! Paris-based band Setenta is preparing for their upcoming 20th anniversary by releasing their sixth album, Apollo Solar Drive. The record is poised to be their best yet and is the culmination of an odyssey of artistic discovery. Setenta has been constantly striving for illumination through the years, yet also exploring the dark side of the human condition along the way. As the band describes it, this record is an Afro-Latin retro-futurist tribute to the sun. If their previous album, Materia Negra, launched the Setenta space shuttle crew into the void of “dark” matter and black holes, they now change course and valiantly approach the sun at full warp speed, taking us from darkness into the light. Miraculously, Setenta manage to bring some of the rhythmic and harmonic material they’ve explored on Earth with them, yet boldly dare to go where no one has gone before, challenging themselves to take their music, and their audience, to uncharted dimensions and new realms of existence.

In keeping with the themes of Materia Negra, FIP (Radio France) selection in 2020, Setenta’s sixth mission to explore “the great beyond” of “inner space” is aptly titled Apollo Solar Drive, emphasizing the band’s turning to the life-giving light of the sun for inspiration while playfully echoing the title of Eddie Palmieri’s Latin funk and social commentary masterpiece, Harlem River Drive. The overall vibe is warm and positive, propelled by the dual energy thrusters of funky, fierce beats and deceptively complex arrangements, yet going down smooth in the best sense of the word, like your favorite tropical cocktail or classic jazz dance fusion record of the 1970s. Of course this delicious treat is served with a special Setenta flavor all its own.

This time around, Apollo Solar Drive celebrates the trajectory of the band’s unique interstellar journey by deploying a resolutely jazzy, “funkadelic” angle to their beloved Afro-Latin music. Setenta’s band members tell their truths as a collective, with an emphasis on instrumental sections, focusing on the interweaving of multiple keyboards and guitars, while condensing the vocals to group choruses, as opposed to the solo voices of the past. The overall approach is more futuristic in its conception and realization, from the arrangements to the sonic engineering, although the rhythmic base still remains rooted in Afro-Cuban traditions as well as those of other Caribbean nations.

Pablo E. Yglesias (DJ Bongohead) of Peace & Rhythm (USA)

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. Mystica Tribe is the musical alias of Tokyo-based dub/techno producer Taka (Takafumi) Noda. He collaborated with Vienna's own Vegetable Orchestra on 2020's "Transplants (Mystica Tribe Version)". After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, vibraphone, marimba, djembe, contra-alto clarinet, melodica, Farfisa - all bound together by organic live-drums and dub effects.

Liner notes by Steve Barker

Ye (Kanye West) and Ty Dolla $ign‘s 2024 album VULTURES 1 (as the supergroup, ¥$) is Ye‘s first collaborative album since his 2018 album with Kid Cudi, KIDS SEE GHOSTS, and as such, delivers celebratory, reunion-like energy. Bridging R&B, classic soul-sample rap, and the lo-fifi electro stylings of late-era Ye, VULTURES 1 manages to fuse Ye‘s go-to productions methods with Ty Dolla‘s efortlessly smooth vocals. This results in an unpredictable and dynamic listening experience.

Spiritual jazz fans are going to rather excited about this new one from the hard working people at P-Vine over in Japan: Chicago saxophonist Prince Billy Marge Wright's finest work, 'Summer Love', is now arriving on its own 7" for the first time ever. It is previously lost material that showcases his next level sound though here featuring mainly keyboard instruments as opposed to his more usual saxophone, but that only makes it all the more uplifting. On the flipside is a remix that is just as rare so this one really is an essential record for your collection.

Ambient explorers SWIMS come up trumps with the debut record by London musician and visual artist Loz Keystone, and Glaswegian electronics tamperer and jazz trumpeter Christos Stylianides.

"Craobh Haven" is the dreamlike product of a week's residency in a little cabin in the Scottish village of the same name. Driving around the surrounding countryside each day to gather field recordings, evenings were spent by the duo assembling their findings into tape loops. These little rotating sculptures - containing stones and the rushing waters of the Craignish peninsula, the voices of locals and the cabin's oven timer - formed the basis for one track per night.

While Keystone's whirling touches of Moog, guitar and space echo suggest the murky, placid vastness of the record's setting, the pitch-shifted, probing trumpet of Stylianides soars and stacks countermelodies like vapour trails braided in the atmosphere.

For a record made out of loch water, Hebridean slate and mud - it is surprisingly tuneful and sometimes almost groovy. Recommended if you like Jon Hassell, Roméo Poirier, Spillage Fete.

Club U Nite Records presents a Split EP you don’t want to miss!

Two labels. One vinyl. Maximum vibes. Club U Nite Records (Cat. No. CUNT035) and Theory Of Swing come together for a split EP that’s dripping in deep, oldschool energy. Strictly for the heads, this limited-edition wax is pure heat – and it’s not gonna last long.

On the Theory Of Swing side, Italy’s rising DJ & Producer St. David sets the tone.
"Undagroov" is a secret weapon, ready to ignite any underground set with its deep female vocals and hypnotic house piano. It’s a straight-up vibe.
Follow it up with "Get On Dance" – a filthy swing groove with jazzy keys that keeps things raw and real. St. David doesn’t miss.

Flip to the Club U Nite side, and it’s all about Mellow Man.
"Club U Nite Is In The House" is a straight-up club slammer – dirty, heavy, and designed to make the system shake.
Then, Mellow closes things out with "Favourite Song" – another brilliant throwback to the golden era of house. Early ‘90s feels, soulful vox, and infectious piano riffs that will have the floor in a frenzy.

Don’t sleep on this one – this limited vinyl is flying fast!

Since 1982 'Looking Up To You' has become one of the signature tracks of the modern soul world and played out regularly at events to this day. It is co-written by Leon Ware with Zane Grey (of Grey & Hanks) and produced by Webster Lewis, all giants in this music genre. The song has also been much sampled, most notably by Zhane (Hey Mr. DJ), Ortega Cartel (Miami Vice), Yusher (Gorodskie Uzory) and three this year alone by Skule Toyama (To You), Jericho Jackson (Seventeen) and Saint Duck (Bamboo). This 7' version has also become more in demand, as too the B side 'Tell Me Why', both condensed to four minutes. Michael Wycoff was from Los Angeles and worked with Stevie Wonder on 'Songs In The Key of Life' prior to his three albums for RCA

The Alarm 40th Anniversary release History Repeating is new Double CD and LP collection. The CD features 44 of The Alarm’s biggest singles and greatest songs and the double LP features 27.
Spanning all eras of The Alarm Timeline, History Repeating brings together all of the band’s ‘Crown Jewels’, including a brand new and previously unreleased recording of the title track.
History Repeating features all of the keynote tracks that have helped create The Alarm’s phenomenal and loyally dedicated following. The Double CD comes in a replica LP gatefold sleeve configuration and is the most comprehensive ‘Best Of’ ever released by the group since 1998’s Best of The Alarm and Mike Peters.
The Double LP comes in a gatefold configuration and is the first ‘Best Of’ compilation to appear on vinyl since 1990’s Standards. This is the record every single Alarm fan will want to own with its distinctive Red Poppy cover and beautiful depiction of The Alarm family across the inner gatefold.
Upon release, lead singer Mike Peters will be hosting a series of completely SOLD OUT Alarm Rock and Roll Staycations in the band’s hometown while telling the story of The Alarm through thealarms internet broadcast platform
The Big Night In, that will feature weekly shows dedicated to every single year of the band’s history.
In 2022, a major touring itinerary begins with the already SOLD OUT official 40th Anniversary Concert in St. David’s Hall, Cardiff Wales on January 21st 2022 followed by an international 40th Anniversary concert schedule all the way through to 2023.

Like the morning sun penetrating a Winter sky, a shimmering frost flecks the brightness of “Message to Nowhere”.

The four tracker showcases the sound of Ruben Benabou’s Hyperstellar nom de plume, a sound that draws inspiration from sci-fi soundtracks and the warmer currents of electro. Refracted bleeps introduce the title piece, shorn beats cutting through glowing synthlines as the EP takes flight. Tight terse drum patterns are the launchpad from which melodies sail and swoop in “Words in a Void”, bittersweet strings and warbling pads bending and shifting above juddering basslines. Fellow Frenchman, and all-round electro virtuoso, The Hacker remixes “Message to Nowhere”. Pulling the track toward the centre of the floor, scissoring snares slice through echoing notes and silken shrouds in this machine funk remake. Temperatures rise for the close. Bold key changes and snapping rhythms gather in “A Thousand Nights”, a lively late evening close to a quartet of sheer quality.

ADE is just around the corner which means it’s time for the annual Vega Records 5 Pack Unreleased limited vinyl release.

Unreleased V is ready for you to play at your vinyl parties with a lineup of super talented individuals including Bebe Winans, Msaki, NV, Funki Cadets, Axel Tosca, Boddhi Satva, Tommy Bones, Johnny Dangerous, Dj Erv, Natasha Watts, Mobi Dixon, and Josh Milan. This year we hit you with 18 Unreleased tracks, special versions, dubs, and more for your dance floors and house parties. With 5 new reworks by Dj Erv to new young talent NV, to seasoned songwriter and genius talented artist Msaki, to the incomparable Bebe Winans, to Brooklyn producer Tommy Bones, to the maestro on keyboards Axel Tosca and more, this 5 pack brings you around the world within 18 tracks from Brazil to Africa to Cuba and back to New York City ! The pressing is pristine mastered by Herb “Pump” Powers and vinyl manufactured at Optimal Germany assuring you top quality excellence! This is a limited edition so get yours asap before they sell out! Available soon at a record store near you!

Published: 21st October 2024

Underrated digi conscious killer with vocal by Bullwackies/Lee Perry collaborator Lloyd Hemmings. Wayne Armond (Chalice band) wrote and produced this song for the 1985 Jamaican festival song competition.
Bass: Keith Francis
Drum: Desmond Jones
Guitar: Wayne Armond
Keyboard: Mikey Wallace & Ervin 'Allah' Lloyd
Backing vocals: Wayne Armond & Michael Wallace
Recorded at Dynamic Sounds Studios, 15 Bell Road, Kingston 11, Jamaica in 1983.
Produced by Wayne Armond.
Licensed from Wayne Armond.

“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

Mark Broom and CJ Baker team up as Kingpin Cartel on Rekids for the The ‘Long Dark Soul Of The Night’ EP

Kingpin Cartel, Mark Broom and CJ Baker’s joint House alias debuts on Rekids this November with the ‘Long Dark Soul Of The Night’ four-tracker. The EP starts with the title track, a playful, funk-fuelled cut with squelchy licks and soulful keys. Next, Kingpin Cartel’s ‘Moonrise’ leads with strong percussion that lay underneath a smooth swinging piano riff. ‘You Are’ then dives deep, perfectly blending emotive synth chords with an undeniably weighty house beat before ‘Shakedown’ closes the ‘Long Dark Soul Of The Night’ EP with a quirky synth line and an infectious bassline that firmly keeps it old-school.

Mark Broom is a UK dance music legend with releases on labels like Warp, M-Plant, and Hardgroove. He returns to Rekids as one of its core artists, joining CJ Baker, a producer known for EPs on Innervisions, Emissions Lo-Fi, Well Rounded, and many more. Founded in 2005, their Kingpin Cartel alias has released on Nic Fanciuli’s Saved Records as well as Mark Broom’s Rewired, Pure Plastic, and Beardman imprints, now landing on Radio Slave’s flagship label with the ‘Long Dark Soul Of The Night’ EP.

Twenty-four strikes on Exarde with Parchi Pubblici, the hardware analog act from Italy who records his songs in one take and have been laying it heavily and steadily for a while, henceforth we can hear the result of it with our own ears. The release consists of four original works by the man himself with first three ready for peak time club cuts with the help of roaring analog machines. They are produced to ready to sweat the dance floor, these stories are followed by a great outro track to conclude this EP. “Pressed Trouble” which is the name of this disc describes the content of it perfectly, because sure as hell this body of work is on the mission to create trouble and trouble sometimes needed to construct the top-level audio trips. Having produced digital contents for the respected labels that you can look up, this is a debut physical vinyl release by the artist and it is a great honour to host him on the label and hopefully to many more to come in the future.

Berlin based artist TWINS debut album of home produced, world infused
Lo-FI Soul / Psychedelic Pop / Devotional tape recordings
The wide array of sounds pulsing through The Human Jazz reflect the diversity of
Neukölln as well as Denck's extensive library. Tracks like "Some Kind of Space"
wobble and groove, vintage '60s Philicorda organ vamping over the top a la
Zamrock and other East African styles. The sleigh bells and droning keys of
"Anatman", meanwhile, are pulled from the vibes of another African music
explorer: "Alice Coltrane is a goddess to me," Denck says. "I spend so much of my
time listening to spiritual, modal, and free jazz." And as the track ends on a bit of
warped tape, a smoky purple portal rips open, pulling a new world into focus..

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

Proudly presenting, ‘Калі ты запытаеш (If You Ask)’, a brand new, blissed-out pop production with a ‘70s AOR touch, by the ever-on-point SOYUZ (СОЮЗ). Coming at a period between albums, the single features guest appearances from the sensational musicians, Biel Basile (O Terno, Sessa) and Anthony Ferraro (Toro Y Moi, Astronauts, Etc.). Friends of the band, they add their signature touch on the drums and synth respectively. To complete the package, SOYUZ back the title track with a short but sweet, Wurlitzer-laden, MPB-tinged number, ‘Tenório’.

‘Калі ты запытаеш (If You Ask)’ tells the story of lost dreams. A track that can be interpreted either as a bittersweet longing for childhood times, or for a native place you can’t return to. For the writer Alex Chumak he suggests, "In my case, as in the case of many Belarusians, it’s both".

For this song, Alex chose to sing in his native Belarusian tongue. As he explains this language "to me feels underrepresented in pop music, also it’s a beautiful legacy and sonority that I wanted to share with the listeners of our project around the world". One of the key inspirations was a Belarusian band “Песняры” (“Pesniary”), who produced a host of great progressive folk, jazz fusion and AOR, from the ‘70s to the ‘90s, predominantly sung in Belarusian.

Another key influence was the music coming out of the Brazilian state of Minas Gerais in the ‘70s, drawing inspiration from the sentimental and harmonious music of Beto Guedes, Lô Borges, Fernando Oly and Wagner Tiso.

Having parted ways with their drummer Anton, SOYUZ needed to find a new way to produce songs. The answer was to go remotely. Alex contacted the brilliant Biel Basile, who had recorded Sessa's contemporary classic ‘Estrela Acesa’, in which Alex also participated. Utilising Biel and Sessa’s newly built studio in São Paulo, SOYUZ had Biel record the drums directly to tape to get the rich sound they were after. Adding the final magic into the mix, California’s Anthony Ferraro provided a beautiful Solina String Ensemble synth arrangement, with drummer/recording engineer Albert Karch expertly assisting with the production.

To capture the essence of the single visually, Alex and the Brazilian one-man-industry visual artist Gabriel Rolim, spent a blazing sunny May day in Berlin shooting film and stills – one of which became the perfect cover image. We hope you enjoy this little nugget of SOYUZ mastery, a sweet taster to savour while the new album is recorded.

The long awaited 12” classic from Ariwa 1983, Gautrey Road, Peckham!

Errol the general - drums
Deuce - Bass
Pepper - keys
Errol Reid - synthesiser
Produced by Mad Professor

We're promised Mellow Magic and that's precisely what we get, across four tracks emerging from disparate corners of the globe but united in a common mission to provide beats that work on the more relaxed end of the dancefloor. Belgian duo Charlotte & Reinhard of Rheinzand fame kick things off with a slow motion Balearic version of a well known 80s MOR classic. Ollie Loudon's 'L.M.T.' finally makes it to vinyl after long being a secret weapon in Gratts' DJ sets, where handclaps and languid strumming meet a gentle but infectious groove. Flip it over for the more tracky affairs, as Japan's Lily Ko makes an impressive debut with 'Pure Rubber', an original mix of disco foundations and always snazzy but never showy 80s synth play. Melbourne's Biancolato finishes things off with understated deep house shuffling that adds just a touch jazzy keys and dreamy, wispy pads.

Musician and Zoitrax record label owner ZOiD, also known as Daniel Jacobson, announces the release of his sixth album, ZOiD Vs Musicians Vol 2.

Featuring thirteen tracks digitally, seven of which will be released on a 12” purple marbled translucent vinyl album distributed by Rubadub, ZOiD Vs Musicians Vol 2 will be available in record shops and on all streaming services and Bandcamp starting Friday, 22 November 2024.

ZOiD Vs Musicians Vol 2 is an electronic music album showcasing ZOiD's global collaborations with jazz musicians, creating a unique form of electronic jazz. Notably, his work with jazz drummer and brother Matthew Jacobson shines on the first single “Fit In Tree” debuting on September 13. Building on this momentum, the second single, "Module Bone, " featuring jazz trombonist Colm O'Hara, will be released on September 27, followed by the third single, "ZVSW, " featuring saxophonist Steve Welsh, on October 11. A special REMIX EP by Kirk De Giorgio, Sunken Foal, Americhord, and TR-One will be out on October 25.
Expanding the album's diverse sound, ZOiD collaborated with Dublin vocalist, composer, and jazz improvisation specialist Jenna Harris on “ZVJH” and with Niwel Tsumbu, a Cork-based Congolese guitaristwho tours with Rhiannon Giddens on “ZVNT.”

ZOiD Vs Musicians Vol 2 is further enriched by the talents of Shane O’Donovan (H-Ci), who combines electronic and jazz elements, Australian saxophonist Daniel Rorke, US-based free improviser Catherine Sikora, Galwegian multi-instrumentalist Matthew Berrill, Dublin saxophonist Matthew Halpin (flute), and trumpeter Bill Blackmore, a key figure in Dublin's jazz scene.

ZOiD released his debut album, ZOiD Vs The Jazz Musicians of Ireland Vol. 1, in 2007. Production of ZOiD Vs Musicians Vol 2 began soon after, taking nearly 17 years. For Vol. 2, some musicians recorded their parts independently, while others recorded in Arad Studio with Les Keye and ZOiD's Dublin studio.

The album artwork is by New York-based artist Shane Ingersoll. The front cover displays black-and- white illustrations of Dublin in the year 2116, a city at war centred around a bold purple "ZOiD" logo, with the title "ZOiD Vs Musicians Vol 2" on the upper left. On the back cover is a 12-panel comic book story (originally written by ZOiD using stick figures) and a glowing robotic hand.