Suche:j rob

Words from the label:

Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..

Kicking off the third instalment of the series is San Proper’s ‘Your Call’, a robust yet dream house workout fuelled by choppy bass hits, fluttering synth licks and a shuffled analogue drum groove. Barcelona based trio Triad follow with ‘Room N’, a hypnotic house cut fuelled by ethereal chord swells, modulating percussion and vacillating bass tones.

Tokyo’s Iori Wakasa then rounds out the release with ‘Rave In A Village’, as the name would suggest embracing a classic house feel via a winding piano chord, twinkling piano melodies, crunchy drums and mesmeric pads throughout.

This project also sees a new design concept for the imprint from London’s David Surman’s painting installation project ‘Paintings For The Cat Dimension’ which ‘’explores the motif of the cat as emblematic of internet aesthetics, a place where all painting styles and modes now exist non-hierarchically as pure information.’’

180g Gatefold Double Vinyl with poster, sticker & badge

It was at the tale end of what would later be loosely termed ‘The Seventies’, in Lincoln, Merry England, that three teenagers formed, the consequencies of ther actions are captured here.
“You Were So Young” consists of everything that The Cigarettes ever recorded in what was their two year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their ip sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record.
Their debut single ‘They’re Back Again, Here They Come’ , exchanges hands from upwards of £100 and ‘You Were So Young’ has been viewed on Youtube over 1.3m times.
The CD booklet and vinyl inner sleeves include an in depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes
Over the years The Cigarettes have gained a wealth of interest, leaving many to scratch their heads and wonder how they slipped under the radar for so long.

Double vinyl LP pressing housed in gatefold sleeve. Includes digital download. Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a label in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, "Smooth" featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer…

Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.

Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.

Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

The original LP states that “Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream.”

I’d first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden’s Island album and occupies a similar musical space. But this album has a little more death.

Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take.
Jonny Trunk 2019

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

Long overdue, here comes AIR LQD’s first full-length player, Repeat Itself, making up for the direct follow-up of his acclaimed vinyl debut released on the label in 2016. Mixing science fiction, social criticism and punk ethics in the most cryptic fashion, the latest entry in the discography of the taciturn Belgian groove-maker sees him pushing further his electronic experimentation. Delving into the meanders of the human consciousness through hazy and abrasive rituals, brainpowered by robotics, artificial intelligence and urban metamorphism. The weird looping echo of a man-machine drifting through a vortex of feral scratches and overworked machinery. Slowly moving towards the event horizon of a supermassive black hole, leading to unexpected aural aberrations full of hidden, past and new meanings. Giving a last disillusioned glance at our human condition facing technological progress and the toxicity of the outside world.

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates. Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.” Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

Occasionally prodigal, but ever-prodigious, Elliot Thomas AKA Etbonz weaves an 80-s/early 90's sci-fi cinema sound into a total recall of scattered memories.
Childhood play with starcom and Gobots. Soaking in cult classics like Robocop, Predator, and Big Trouble in Little China on VHS. DJing in spacey laser-lit rooms draped with sound-dampening curtains.

Side A leads with 'Blue Drink,' which is carried perfectly on melodic motifs designed for trance inducing, with a steadily crescendoing & irresistible rhythmic mantra.

Following this, 'Curtainbox Space World' flips the 'Jerry Garcia finds a 303' switch and accidentally opens a portal to some deep shamanic release.

Our secret agent in Oslo returns with another urgent communique in the Norsk Tripping series...Six more tracks selected from a private vault of dance floor dynamite, which takes in modern Italo, solid gold punk-funkery, synth-outs, outsider pop & 80's obscurities.
All given the sonic once-over for maximum playability...
As always, a VERY limited run.

In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.

The visionary singer, songwriter and composer returns to her Havana roots
A sun-baked, vibrant record backed by a killer band of fellow Cubans The new album from Daymé Arocena is a vivid return to her Havana roots. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core. Holding sessions in a simple, repurposed artist’s studio in Havana, Daymé produced the record herself, taking the reins to make “Sonocardiogram” her most raw and arresting outing yet.

A jazz-tipped record rooted in the rhythms of rumba, she draws on the island’s intertwined rituals of family, music and religion. Ringing with echoes of the greats, songs nod to the likes of Tito Puente and La Lupe, inspirations which carry the sound of Cuba’s sun-baked, vibrant daily existence. Odes to Santería deities are underscored by the sacred frequencies of the batá drum, translated to be played on a Western drum kit. It’s an intoxicating window into a singular artist’s worldview. An important voice in Latin music, Daymé has collaborated with influential peers in Cuban music, like Roberto Fonseca, and US heavyweights like Dexter Story and Miguel Atwood-Ferguson. From a recent appearance at Primavera Festival, to sold out tours across Japan and the US, her spectacular live show continues to draw crowds around the world.

The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe.
Her father was a Dane that had settled in Brazil, but she was raised by her mother and step-father in a typical Portuguese-Brazilian household. Since her older brother was friendly with
leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. At the
age of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacífico
Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowing that a full-time career in music was certainly not guaranteed, she began studying journalism
in 1967, shortly before her controversial song “Me Disseram” reached the finals of Rio’s second International Song Competition. The following year, her self-titled debut album was
released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs
by her rising-star friends, including Caetano Veloso and Marcos Valle.

Heady, deep dive into techno's more psychedelic spaces, true to form, "Dimensions Doors" EP kicks off with the rolling kicks of "Portal Opening", a trippy exploration of shifting ambiances and rhythmic noise, punctuated by a siren tone. AWB steps up with a broken beat remix of "Portal Opening", layering Clotur's ambiances over low-slung percussion. "Hyperspace Travel" brings up the energy with galloping kicks and rippling resonant synths. BLNDR follows up with a pounding remix, building Clotur's sweeping textures into trippy loops circling over a monolithic kick. "Irregular Frequencies" pulls even further into the portal, with a relentless, rubbery synth squelching along over driving, percussion. Clotur lays a gentle, but uneasy atmosphere over this trippy tool. He brings us back down with "Forbidden Level", another complex rhythmic track featuring glitchy percs and robotic warping over a tough low-end workout.

An extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection.

In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label.

Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background.

Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun.

Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

Roberto Surace and Cosmin Horatiu head to Bamboleo to close August with their split EP ‘Sintonia’.

Launched in early 2019, Neverdogs’ Bamboleo Records imprint has quickly emerged as a go-to outlet for fresh productions for the industry’s biggest names within house and tech house, with support over the first four releases to date from the likes of Marco Carola, Stacey Pullen, Jamie Jones, Paco Osuna and Oxia to name just a few.

Next up, the Italian duo welcome Rome’s ‘man of the moment’ Roberto Surace, following releases on NONSTOP, elrow and Noexcuse, and rising Romanian talent Cosmin Horatiu as each artist delivers two tracks forming their split release entitled ‘Sintonia’.

Roberto Surace’s ‘Sintonia’ opens the package as the Italian opts for slick, rolling grooves that snake amongst soft floating melodies, before easing into second track ‘Subtitle’, featuring hazy synth lines, punchy kicks and rich chord patterns throughout.

On the flip, Cosmin Horatiu’s ‘Milk & Egg’ ups the energy levels with metallic drum shots, off the wall vocal samples and bubbling bass patterns, whilst switching things up and laying the focus on organic percussion hits and sizzling hats with closing production ‘Make It Rain’.

Spencer Parker returns to Rekids with looping techno roller ‘You’re Under My Control Now’ featuring remixes from Truncate, P.Leone, Fadi Mohem and label boss Radio Slave.

Released on last year’s ‘Dance Music’ album via Parker’s own Work Them Records, ‘You’re Under My Control Now’ is an infectious and mesmerising techno banger that’s garnered support from the likes of Midland, Len Faki, Amelie Lens and Marcel Dettmann.

One of the track’s biggest supporters, Radio Slave is now releasing it on Rekids with a medley of top tier remixes. Radio Slave’s reimagining scales back on the original’s high-octane energy, instead taking a more uplifting direction with an arpeggiated bassline, meandering synths and clattering percussion.

A regular on Seilscheibenpfeiler (alongside artists like FJAAK, Solid Blake and Kasper Marott), Fadi Mohem is next with a dark and atmospheric rendition complete with driving kicks, subterranean chords and echoing effects before Truncate serves up his cavernous ‘Mind Control’ Remix which combines tantalising melodies with robust drums and murky vocals.

E-Missions co-founder P.Leone and Radio Slave, having paired up for a remix of Deep Dimension last year, collaborate again here to provide a robust, compelling piece of house music littered with breathy samples and oscillating atmospherics.

Factory Benelux is proud to present a deluxe 5 disc vinyl box set edition of Always Now, the debut album by cult Factory Records group Section 25, produced by legendary sonic architect Martin Hannett and sleeved by Peter Saville.
All tracks are newly re-mastered from the original quarter-inch tapes. The first 1000 copies of the box set are pressed in coloured vinyl: disc 1 (black); disc 2 (clear); disc 3 (yellow); disc 4 (red); disc 5 (silver). The outer case in printed in PMS 123 with spot varnish.
The 16 page booklet features unseen images by noted photographer Philippe Carly and texts by founder members Larry and Vin Cassidy. Also included is the first ever interview with guitarist Paul Wiggin, whose sudden departure in late 1981 saw Tony Wilson try (and fail) to recruit pre-Smiths teenager Johnny Marr as replacement.
Recorded as a trio at Pink Floyd’s Britannia Row studio in London in January 1981, Always Now combined austere post-punk rhythm and noise with elements of Can, Krautrock and modern psychedelia. Key tracks include Friendly Fires, Dirty Disco and New Horizon, along with C.P. (a collaboration with Hannett) and Hit (extensively sampled by Kanye West for the track F.M.L. on his 2016 album The Life of Pablo).
Disc 2 gathers together several non-album singles from 1980 and 1981, including Charnel Ground, Je Veux Ton Amour and debut EP Girls Don’t Count – the latter produced by mentors Rob Gretton and Ian Curtis (of Joy Division).
Disc 3 offers a complete live show professionally recorded at Groningen (Netherlands) on 26 October 1980, as part of a Factory package tour.
Disc 4 is part-improvised second studio album The Key of Dreams, recorded and produced by the band themselves a few months after Always Now, and released by Factory Benelux in June 1982.
Disc 5 consists of further experimental material recorded in 1981 and self-released on a cassette called Illuminus Illumina. This final disc closes with an extended (and previously unreleased) live encore jam recorded with all four members of New Order at Reading University on 8 May 1981.
“One of the best albums Britain's second city has unleashed” (Uncut);
“In 1980 their bass-driven mantras were thoughtlessly dismissed as second-rate Joy Division, but hindsight judges them more kindly. The wind-dried skeins of their blasted guitar harmonics and skimped electronics gauntly cling to the songs’ skeletal frames. With telltale titles like Babies in the Bardo their Buddhist interests hang heavy over these early stirrings. But, combining a bass-led drone with a characteristic groaning vocal, Charnel Ground succinctly pins down Section 25's pre-disco appeal” (The Wire)

incl. Download Code

In-demand deep modal jazz tune from Belgium featuring Babs Roberts!

The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.

The veteran London duo debut Live At Robert Johnson with pure deep house vibes.

'Broken Toys' showcases the prodigious talent of Eshan Gopal andcaptures the essence of 70s soul and disco, yet it sparkles with more than enough retro-futurist fireworks to light up the pop horizon.Arranged and performed to perfection, this soulful track delivers feel good nostalgia and is elevated further by the young lead singer voice, which can only describe as the king of pop's second coming.

Carrying heartfelt messages about love, moving on and growing up, coupled with warm and uplifting instrumentation; 'Broken Toys' is a breath of fresh funk and soul without being marred by controversy. Its pure, exciting and enjoyable music for any age and The Tribe of Good have totally nailed down every element of this soul groove.

On the flip of the vinyl is a 'Percapella' which features these stunning vocals layered with a stripped down percussion backing. Offers a weapon clean enough to shake things up in your DJ mixes.

The Tribe of Good are the secret weapons behind your favourite chart hits. The super group steered by Grammy-nominated producer Hal Ritson (Chemical Brothers, Katy Perry, Duke Dumont, High Contrast) features an array of producers who have worked with the likes of Nas, Cee Lo, Taylor Swift, alongside a cast of musicians such as Basement Jaxx singer Vula Malinga and Jamiroquai guitarist Rob Harris to highlight a few.