DJ Support: Louie Vega, Joe Claussell, Danny Krivit, DJ Spen, Ron Trent, Don Carlos, Sandy Rivera, Emmaculate, Souldynamic and more…
Paolo Fedreghini is a key figure in the Italian nu-jazz and jazz-funk scene, also known, lately, for his FAM Disco project.
Paolo's latest offering, Jazz House Rituals, is more than just an EP; it’s a masterclass in organic production. A 4-track project that bridges the gap between sophisticated jazz arrangements and the infectious energy of the dancefloor. Recorded with a rich palette of live instrumentation—including saxophones, flutes, trumpets and organic drums—the project is a testament to Fedreghini’s ability to blend analog warmth with contemporary club rhythms. From the latin sun-drenched "Happy Feeling" to the nocturnal Deep vibes of "Smoking Area," this EP is an essential choice for lovers of Jazzy-house music.
Intriguing Siberian B-Boy roots informed Anton LTF's first solo album last year and its mix of funk, hip-hop and early turntablism influences really worked. He's back now with a tidy two-tracker on Soul Service Sabrosura that leans into Latin funk. It's raw, direct and charged up tackle for once again getting under the skin of b-boys and girls thanks to the killer breaks. 'Garra' is lit up with shuffling percussive keys and rhythms and big brass horns, while 'Aroma Sunset' is more pared back and loose. There's a celebratory vibe that's smoother and more languorous, with sunny flutes leading the way and irresistible Latin charm in the ways the keys dance.
Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.
This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.
London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.
Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.
WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".
Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".
French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.
Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".
Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.
To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.
The legendary Charlemagne Palestine returns to Black Truffle with KKKAAARRREEENNNIIINNNAAA, capturing a 2025 performance in London alongside two close collaborators of recent years, multi-instrumentalist Daniel O’Sullivan and guitarist Oren Ambarchi. While perhaps still best known for the ecstatic piano clouds of his ‘strumming music’ performances, Palestine’s life-long search for what he calls the ‘golden sound’ has taken in an enormous variety of methods of sound production. Now stretching back an incredible six decades, his exploration of continuous sound forms has led him to mega-instruments from the carillon bells of the Saint Thomas Episcopal Church to the synthesizer armada of the Moog Sound Lab, with stops along the way at many of Europe’s grandest church organs. Just as important, though, has been Palestine’s practice as a singer, beginning with his childhood experience of sacred Jewish music and growing through his studies of Indian and Javanese musical traditions in the 1970s.
KKKAAARRREEENNNIIINNNAAA reimagines a key work showcasing Palestine’s voice, the haunting ‘magic song’ Karenina for falsetto singing and harmonium, recorded in Paris in March 1997 to honour the spirit of Palestine’s recently departed black labrador. In this trio version, which Palestine describes as the ‘karaoke’ version, O’Sullivan controls three cassette machines playing the original recording, their slow drift out of phase creating complex patterns of delays and ricochets as the recorded voice chants the syllables of Karenina’s name and other trance words. Beginning with a held organ tone that gradually expands to fill out the frequency spectrum, the piece soon grows into a dense psychedelic mass, as Palestine’s electric organs and the echoing pre-recorded voices are joined by Ambarchi’s swirling Leslie guitar tones and O’Sullivan’s viola, synthesizer and additional vocals. Atop it all sits Palestine’s live voice, in an extraordinary performance of keening, shamanic intensity, sometimes delivered in melodic unison with his keyboard playing.
Though clearly a work of Palestine’s design that sits squarely within his oeuvre, Ambarchi and O’Sullivan are far from simple accompanists on KKKAAARRREEENNNIIINNNAAA. As the elements of the teeming, emotionally charged stew writhe and twist, different elements come momentarily to the surface, O’Sullivan’s spaced-out viola taking the lead in moments that recall Kosugi’s Catch Wave, Ambarchi’s gliding chords and signature stuttering tones enriching the details of many of the quieter episodes. Throughout all its transformations, the music is buoyed up by a sacred aura, as Palestine intones his hypnotic prayer for the soul of his departed pet. Arriving emblazoned with a striking labrador painting by O’Sullivan on the cover, KKKAAARRREEENNNIIINNNAAA is an essential slice of modern ritual music.
The duo of Nail and Barney Osborn are rising stars who work under the Indoor Tall Boys alias, a new name on us but this fresh drop on In The Dance suggests they have a deep understanding of dancefloor dynamics and a wide-ranging taste. 'Flames' is a supple, succulent and poppy sound with silky disco flourishes and a soulful, almost gooey groove. 'Re-Vibrations' has a lovely double skip in the drums and a gloopy bassline that brings a nice louche vibe, while 'Hold A Groove' has a sunny outlook and subtle strings worked into a smooth groove that exudes summery heat. 'KTT' shuts down with a filter-edge and glistening keys all stitched into a classic disco house groove full of colour and funk.
Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.
Aura Safari are taking it back to the source with new album Spaced Out Disco on Hell Yeah. The eight-track record is inspired by the iconic sound, feel and studio techniques of the original 1970s disco and was played entirely live with real instruments.
Aura Safari are Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo, and they have been releasing EPs, LPs and remixes on this label since 2020. They have long been entrenched in the local scene of Perugia and are live specialists with a unique chemistry that allows them to translate funk, jazz, soul, disco and house into their own timeless and universal musical language.
Integral to the album is the live performance aspect. All the band members hooked up in the studio and played together, often laying down tunes in one take and then adding some post-production for a modern edge. Disco, dub, jazz-funk and instrumental grooves define the sounds while the creative use of classic delay, echo, spacey FX and dubbed out arrangements lead the record the same Jamaican character that inspired original dub-disco pioneers like Arthur Russell, the Compass Point Studio and labels like Prelude and West End.
'Starlove' opens with low-slung grooves and squelchy bass that twist you inside out before 'Spaced Out' shimmers with astral melodies and synths that rise like a rocket disappearing into the night sky. Funky claps and flashes of Dexter Wansel-inspired soul complete the picture, while 'Santa Barbara' eases the pace with a brain-bending dub workout full of weighty low-end and warm, sun-kissed chords. 'Cosmic Affair' lives up to its name, gliding through the galaxy on uplifting guitars and slinky drums, all wrapped in irresistible retro-futurist magic and lit by the moon.
'Disco Mirage' turns inward with simmering bass, dusty open hi-hats and hazy synth trails drifting through effervescent jazz keys that rise like champagne bubbles. 'Magik Space Dust' stretches towards the stars with soaring leads and knotted bass locked into an effortless groove.
Spaced Out Disco does exactly what it promises and plots a richly imagined journey that never stops looking towards the stars while keeping its feet firmly on the dancefloor.
A staple of the ’80s electro-funk and disco scenes, On The Shelf by The B.B. & Q. Band is a classic 1985 disco-funk track. Remixed by legendary Dutch producer and DJ Ben Liebrand. (“BL” stands for Ben Liebrand), who created several extended and “Finest” mixes for the group’s seminal 1986 Genie album. Now remastered and reworked, these mixes are on point: electro drums, punchy keys, and really warm, subtle bass. A very sexy slice of mid-80s disco funk with soul.
Seven-piece instrumental group Let Your Hair Down herald their triumphant return with super heavy new 7” Pingu’s Anthem b/w Gronk.
Hailing from the hotbed of Melbourne / Naarm, Australia, Let Your Hair Down step out from the shadows for the first time since their 2021 album‘Waiting Room’. The seven-headed cinematic funk group is a conglomerate of Melbourne’s thriving cinematic soul movement, comprising members of Surprise Chef, Karate Boogaloo, Owelu Dreamhouse and Temporary Blessings. The band’s sound is a sturdy mix of dusty minor key funk, off-kilter conguero psychedelia and horn-heavy boogaloo, represented robustly across both sides of the forthcoming College of Knowledge 45‘Pingu’s Anthem b/w Gronk’.
Side A, ‘Pingu’s Anthem’, pays tribute to the tune’s titular penguin protagonist. Emblematic of Pingu himself, LYHD’s horn section sticks its chest out boisterously atop the rock-solid drum feel of Hudson Whitlock. The tune is laced with a resolute flute solo from saxophonist Will Morrissey.
Side B, ‘Gronk’, is a punishing funk cut; relentless rhythm section careening through the tune, punctuated by the metallic, percussive sound of an empty gas bottle being struck. Razor sharp farfisa and menacing horns reinforce this deadly joint as one to handle with care.
Pingu’s Anthem b/w Gronk is out worldwide on 45RPM 7” vinyl on College of Knowledge Records August 7th 2026.
Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.
Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.
Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.
Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.
Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.
Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.
DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more
Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.
On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.
The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.
Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.
‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.
It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.
To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.
Power Of Soul is the third record as a bandleader by legendary jazz drummer Idris Muhammad, originally release in 1974. He embarked on his solo career in 1970 after years of work as a sideman for the absolute biggest names in jazz such as George Benson, Lou Donaldson, Grant Green, Ahmad Jamal, Pharoah Sanders, and many, many others.
This record was produced by Creed Taylor, founder of CTI, and engineered by Rudy Van Gelder. The architect of the Blue Note sound developed a deep relationship with Muhammad and played a big role in finetuning his sound. But, don't forget the rest of the line-up; the recorded features arrangements and compositions by keyboard legend Bob James and smooth jazz founder Grover Washington Jr., supplemented with performances by Randy Brecker, Joe Beck, and Ralph MacDonald. All in all, you can see why Muhammad's works ended up as samples on so many hip-hop records.
Power Of Soul is available as a limited edition of 2000 individually numbered copies on white vinyl.
Chicago native Ed Nine delivers another slice of that unmistakable Windy City sound on Four Framed Music. Born and raised in Chicago, his music draws directly from the city’s soulful house roots, raw, authentic, and built to move floors.
No Boundaries EP captures exactly that balance, classic influences with a sharp, modern edge. No gimmicks, just pure Chicago energy across four club-ready cuts.
The A-side hits hard. H2O rolls deep with heavy drums and an emotive vocal that cuts through the groove, while The Boundary locks into a tight, driving rhythm that doesn’t let go.
Flip it over and The Rhythm keeps things flowing, built around a swinging, soulful groove with jazzy key elements. Closing track Ecstatic lifts the mood, layering warm musical elements into a satisfying, feel-good finale.
Four tracks, straight to the floor, Chicago doing what it does best.
Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.
In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.
Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."
And now the follow up single of "Searchin/Tongue Tied"
Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.
Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.
Label founder DJ Scientist tells the story of how the tracks were uncovered:
"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.
Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)
Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.
Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"
To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.
When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.
The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!
Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.
The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.
Swedish talent Dold drops nuanced techno cuts on 10" via SHDW's Mutual Rytm X.
Stockholm-based Patrik Eriksson, aka Dold, is a cultured producer known for crafting hypnotic loops with a minimalist, emotive touch-bridging underground dancefloors and introspective listening.
As a DJ, producer, and co-founder of Arsenik, Dold has championed raw, unembellished techno since 2015. His releases on Key and Fuse blend Detroit techno's legacy with IDM's intricacy and ambient's ethereal tones, creating a style that is both timeless and forward-thinking. Whether it's crafting tapestry's recorded via hardware in the studio or performing live, Dold continues to innovate, honouring techno's roots while exploring its future, and his talent is on full display across his label debut on Mutual Rytm X.
'Grainy' opens the EP and showcases Dold's ability to craft deep and loopy techno with a stripped-back, emotive
edge. It's deft but enthralling, with innovative synths rising and falling through the minimal drums. 'Surface' is another compelling deep cut with hurried drum funk and subtle synth pulses, adding a futuristic edge to the groove. The fantastic 'Blush' brings smears of warm synth and machine soul to a dynamic dub techno rhythm that bends the
past with the present. Digital bonus cuts 'Dub at Heart (Club Version)' and 'Dub at Heart (Sofa Version)' offer
contrasting perspectives of the same track, with the first aiming directly for peak-time sessions, while the latter closes the package on a laid-back tip.
Jnbo ist der Künstlername von Henry Jenkins, einem Komponisten, Produzenten/Toningenieur und Bassisten aus Melbourne/Naarm. Jenkins ist den meisten als Produzent/Toningenieur hinter Surprise Chef, Karate Boogaloo und der für den Grammy nominierten Frollen Music Library bekannt. Als hauseigener Toningenieur für Aufnahmen und Abmischungen bei College In-House-Aufnahme- und Mix-Ingenieur bei Knowledge Records hat Jenkins die klangliche Grundlage für die instrumentale Cinematic-Soul-Bewegung von Melbourne/Naarm geschaffen. Auf ,& Friends" setzt Jenkins seine Fähigkeiten für seine eigenen brillanten Kompositionen ein. Das Album umfasst 12 introspektive Instrumentalstücke - tiefe, cineastische Odysseen, die von Romantik und Aufrichtigkeit durchdrungen sind und jenen unverkennbaren ,Freak Funk Bump" haben. Jenkins erklärt die Konzeption von ,& Friends": ,Ich wollte ein Album schreiben, auf dessen Aufnahme ich mich mit meinen Freunden freuen würde. Die Musik, die ich schrieb, hatte eine Funk-Sensibilität in Bass und Schlagzeug, kontrastiert durch einen eher cineastischen Ansatz in Bezug auf Harmonie und Melodie, mit Gitarren, die sich dazwischen schlängeln und gleiten. Ich habe versucht, diesen Kontrast zum Charakter des Albums zu machen. Ich fand, dass jeder Song die gleiche Instrumentierung und die gleichen Musiker haben sollte. Das wurde zu einer angenehmen kreativen Herausforderung: Wie viel Variation konnte ich im Laufe des Albums aus denselben acht Instrumenten herausholen? Ich wollte innerhalb dieser engen Grenzen so viel Vielfalt wie möglich finden." Jenkins hat diese Prinzipien bei den Aufnahmen zu ,& Friends" angewendet und langjährige Musikpartner wie Hudson Whitlock, Darvid Thor und Callum Riley (Karate Boogaloo), Lachlan Stuckey und Jethro Curtin (Surprise Chef), Lewis Coleman und Lena Douglas (The Cactus Channel) zusammen, um unkonventionelle Arrangements für drei Gitarren, Klavier, Streichersynthesizer, Hammondorgel, Schlagzeug und Bass zu verwirklichen, wobei Jenkins selbst den Bass und die Produktion übernahm. Das Ergebnis ist ein auffallend einzigartiges Album: Mal gibt's malerische Stimmungen, mal funkige Rhythmen, die zum Mitwippen einladen, wobei die drei Gitarren und drei Keyboards genau im Stereofeld angeordnet sind. Das Album zeigt die Einflüsse des Filmkomponisten Bernard Herrmann, des Lounge-Pioniers Les Baxter und Lamont Dozier von Motown, zusammen mit den exzentrischen Eigenheiten von JNBO. Für Fans von Surprise Chef, El Michels Affair, Menahan Street Band, Les Baxter, Bernard Herrmann.
The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.
The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.
Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.
All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.
Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.
The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.
Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.
Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.
Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.
Vinyl LP with 4 page insert, original artwork and photos
The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.
The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.
At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.
Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.
Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.
Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.
If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.
Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.
Love On Vinyl is headed up by K.C. aka K Civ, an American with deep roots in the scene and a legendary Boston selector who has now assembled the first instalment in a new Soul Tickler Essentials compilation series. It's drenched in love and soul and features a ton of timeless artists, starting with Ralf GUM's sunny, Omar-featuring 'Love Core.' Elsewhere, the musicality flows through subtle jazzy keys and Afro drums on Don Kamares's 'Batie' then Moodymann drops one of his deep and dusty soul grinders with a remix of Ralf GUM's 'With Her Hand'. Further gems from Trinidadian Deep and Aaron K Gray & Conway Kasey make this one a faultless selection of grown-up grooves.
A legend returns as the alias of scene stalwart DJ Levi and Curvature co-creator Ghosts of MIDI unleashes an EP of seismic tracks backed with remixes from ASC and Aural Imbalance. A1 - Iron Dinosaurs Opening a fine Curvature debut for the label’s very own Dan Azimuth, Iron Dinosaurs is an epic piece of atmospheric goodness introduced with a long, elegant intro of synths and luscious female vocals. Before long, classy, energetic metallic breaks kick in, set to an immensely memorable key melody and a room-filling bassline, creating a breathtakingly fluid and captivating piece. A2 - Iron Dinosaurs (ASC remix) Taking an incredibly evocative track and lacing it with sprinkles of ASC goodness to create a true gem is the order of the day here, as the heart of the original courses through an ominous intro, quickly beset by fine analogue amens that hit hard for the dancefloor, while allowing the soul of the piece to breathe, syncing in harmony with the distinctive vocal samples and swirling synthwork that colour the atmosphere so perfectly. B1 - Deadly Dimensions A DJ-friendly intro of hi hats gradually ushers in epic, bassy melodies gliding through serene vocals and airy pads, before the drop reveals exquisite breaks with just the slightest hint of an apache in there. Very danceable, the breaks are chopped and diced at will, driving a determined pace for another superbly epic, ethereal piece of atmospheric drum & bass from one of the OG’s of the scene. B2 - Deadly Dimensions (Aural Imbalance remix) The EP closes with a real treat - this is as close as an example you’ll hear to a match made in heaven as the eerily epic production of Ghosts of Midi collides with the inimitable ambient mastery of Aural Imbalance. Intersecting the thoughtful vibes of the original, this remix sees playful old school breaks jostle with swathes of fluid synthwork and delicate pads, creating a unified expression of atmospheric purity.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
When Alan Parker recorded the killer library soul-funk LP The Voice of Soul with session vocalist Madeline Bell in 1976, some bright spark at Themes decided to also release all of the backing tracks as a separate, and equally innocuously title LP called The Sound of Soul. Thank goodness for bright sparks.
Released as a collection of unobtrusive musical backings in various rhythmic styles', the LP's original description dryly explains these tracks have been issued without melody and are therefore particularly suitable for use behind commentary. Female vocal versions of these tracks are issued on TIM 1021 The Voice Of Soul and it is possible to edit from vocal version to instrumental version or vica versa where commentary or scene changes occur'.Madeline Bell was backed by The Rhythm Section, who were for all intents and purposes the Themes International Music house band. So what we end up with here is entire album of instrumental work-outs by a band comprised of the formidable talents of Alan Hawkshaw on keyboards, Alan Parker on guitars, Barry Morgan on drums, Les Hurdle on bass guitar and Frank Ricotti on percussion.
Without Bell's vocals these backing tracks are given all the room they need to breathe. Each one more than stands up on its own.
The Sound of Soul is a real diggers' delight and, unsurprisingly, a must-have counterpart to The Voice of Soul.
As with all ten re-issues, the audio for The Sound of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
The Doobie Brothers faced a serious predicament as they prepared to record Takin’ It to the Streets. That the group navigated a potentially serious personnel problem that would’ve tanked lesser bands and scored its fourth straight Top 10 album — while again expanding its range — speaks to the collective’s chemistry, broad-mindedness, and songwriting abilities. Known as the effort on which vocalist-keyboardist Michael McDonald makes his debut, the 1976 set stands as an all-encompassing representation of the various styles the Doobie Brothers explored during their heyday.
Sourced from the original analog master tapes, mastered by engineer Krieg Wunderlich, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP presents Takin’ It to the Streets in definitive sound. Given the luxurious room of a 45RPM version for the first time and benefiting from the wider grooves, the music unfolds amid large soundstages replete with ultra-quiet backgrounds, big dynamics, and accurate imaging. By then a key component of the Doobie Brothers' success, Ted Templeman’s production is brought to light with stellar clarity and definition.
As is the case on Mobile Fidelity's four other acclaimed Doobie Brothers 45RPM reissues, myriad facets that help make Takin’ It to the Streets timeless, natural, and organic — minimal overdubs, voices that realistically rise and fall, notes that properly carry and decay, warm tones, bass lines that pop with color, well-placed percussive accents, defined separation between the players — emerge with incredible presence, openness, and fullness. Nothing is overdone or out of place. No small feat given Templeman and company didn't know how everything would unfold when they first met up in Southern California.
Confronted with a change in plans by co-founder Tom Johnston, whose contributions to the band up to that point in its career identified him as an indispensable member, the Doobie Brothers were thrown for a loop when he curtailed pre-planning work and retreated home to deal with ongoing health problems. Thankfully, Jeff "Skunk" Baxter, the group's newest full-time recruit, had a possible solution in his former fellow Steely Dan colleague McDonald. The singer-keyboardist had already sat in with the Doobie Brothers on their recent tour. So, why not give it a shot?
McDonald's prodigious talents notwithstanding, he couldn't technically replace Johnston. For starters: McDonald's soulful timbre bore little resemblance to Johnston's grittier voice. And McDonald played keyboards, not guitar. No wonder Templeman initially expressed reservations. He also knew the Doobie Brothers needed additional material before they could consider wrapping the record. Yet the skepticism began to dissipate on the first day of the sessions. Still waiting for second drummer Keith Knudsen, the band gathered in the studio with former roadie Bobby LaKind on congas and Little Feat drummer Richie Hayward for a live run through "Wheels of Fortune." The instrumental parts of that take landed on the record. Johnston would even return to share the lead vocal duties with Patrick Simmons.
Those magical results, and the experience of hearing McDonald woodshed the title track at the piano, turned Templeman into a believer and cheerleader. Spurred by their veteran producer's encouragement and McDonald's ideas for songs, the Doobie Brothers embraced new directions just as they did after their debut LP and on subsequent efforts with orchestral and horn treatments. The latter return on Takin’ It to the Streets courtesy of the five-piece Memphis Horns. Yet outside of viola accompaniment on "Losin' End," string elements step aside in favor of McDonald's pianos, synthesizers, and clavinet. And, on five cuts, lead singing.
As the new face of the band, McDonald ended up crafting all or portions of four tunes. His fingerprints are all over two of the singles, including the jazzy, blue-eyed-soul delight “It Keeps You Runnin’” and irresistibly melodic title track, which cracked the Top 15 and became one of the Doobie Brothers’ signature numbers. He and Baxter’s penchant for smoothness, and a precursor to the band’s coming transition into rhythmically oriented yacht rock, informs the brassy sway of “Carry Me Away.”
Further enriched by Tiran Porter’s gorgeous, time-signature-shifting ballad “For Someone Special,” Simmons’ peppy, spring-loaded “8th Avenue Shuffle,” and Johnston’s “Turn It Loose” — the move-your-feet boogie serving as kind of apt farewell to the band’s prior rock ‘n’ roll sound — Takin’ It to the Streets spun uncertainty into gold. Altered yet unbowed, the Doobie Brothers once again offered countless listeners “the best kind of remedy” with feel-good music that holds up amid any era.
Next up in our Cuban Classics series, one of the jewels of record label Areito’s extensive and sought-after catalogue. Ricardo Eddy Martinez’s Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies.
Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.
Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.
Kirk Degiorgio’s influence on electronic music cannot be overstated, having been responsible for producing some of the most emotive and soulful machine music dating right back to the early 90’s. As a leading figure in UK techno his As One, Elegy and Future/Past output on labels such as B12, R&S and his own Applied Rhythmic Technology (A.R.T.) have rightly become revered classics and helped shape ambient techno and what would come to be known as IDM/Future Electronica. His connection with Cyphon co-founder Jamie Odell also dates back to the turn of the millennium when Kirk invited Jamie to play keys on his 21st Century Soul LP released on Ubiquity and subsequently releasing an EP together under the name Super Aloof on Exceptional.
Machine Affairs is an expansive dance record informed by classic hardware and deep studio collaboration, with the soulful side of Detroit’s dance music legacy serving as a key inspiration. Crafted by long-time friends Willem Mulder and Grover Duvall over an intensive two-week studio session, the project represents a new generation of artists interpreting dance music heritage with a fresh perspective.
Willem Mulder works from the raw functionality of house and pulls warmth from electronics across eras. With releases on Apron Records and Salon Recordings, he’s steadily been building a name with his soul-infused productions. Grover Duvall is a new name, but not a new story, with years spent deep in the craft of sound. Together, the two bring their distinct worlds into a shared space, united by a love of analogue hardware, dancefloor energy, and the kind of music that lives somewhere between feel and function.
Mit FATHERS präsentiert sich ein außergewöhnliches neues Kollektiv aus Produzent Kenny Beats, Keyboarder Kiefer, Bassist CARRTOONS und Drummer Nate Smith. Auf ihrem selbstbetitelten Blue-NoteDebüt verbinden sie die Offenheit des Jazz mit Hip-Hop, Funk, Soul und elektronischen Einflüssen zu einem
ebenso virtuosen wie zugänglichen Sound. Entstanden aus einer Zusammenarbeit beim Montreal Jazz Festival 2023 und weiterentwickelt auf gemeinsamen Tourneen durch die USA und Japan, lebt FATHERS
von der kreativen Chemie seiner Mitglieder. Das Ergebnis sind acht Songs voller präziser Grooves, starker
Melodien und geschmackvoller Arrangements, die musikalische Raffnesse mit unmittelbarer Zugänglichkeit
verbinden.
For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.
When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.
On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.
Four belters, all on one record, designed for maximum listening pleasure.
*A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM THE LEGEND OF ZELDA*
WRWTFWW Records is happy to announce the release of Casimir Liberski ReTRio's The Z Suites, a full-length jazz album reinterpreting the music from iconic Nintendo video game series The Legend of Zelda. The epic Z-Jazz journey is available in the following formats: limited edition 180g half speed mastered vinyl double LP housed in a heavyweight sleeve with obi, digipack CD with cavalier, and digital.
Casimir Liberski reimagines the golden era of video game soundtracks with jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - plus a few Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.
Music critic Arthur Meurant perfectly explains:
For many video games are a journey of the mind. Since its inception - dating back to the early seventies - this avant-garde artistic medium has nourished the imaginations of a digital age. Casimir, like many others, has been fed a steady diet of pixels from an early age. From simple squares to cultural cornerstones they have become the trail on which playful travelers of the mind retrace the steppes of history. A shared universe, familiar yet endless, of pocket-sized mythology. Its name? Hyrule. Its goal? To amaze. In these few tracks - selected with care - the Casimir Liberski ReTRio invites you, finally, to visit a space which does not exist yet holds us all. A land where all feel welcome. Where all are happy. But also... to rediscover under another timbre the classical compositions of Master Composer K?ji Kond?. A man who, unbeknownst to him, composed our dreams as well as music. That single noble pursuit, where an artist gives soul without losing his own, is yet again a statement of humanity in its purest of forms: art as that which brings us together and makes us whole in a world eroded by modernity. Pick up your key. Gather your maps. Open the door. Adventure calls.
Celebrated British producer O’Flynn presents his highly anticipated 3rd album ‘Kairos’ on his Panthus imprint.
‘Kairos’ comes off the back of some of the biggest success O’Flynn has seen so far in career: his January single ‘Fara’ shot into the top 40 in the UK’s Shazam Dance chart after landing BBC R1 Breakfast Track of the Week and adds to the Radio 1 Dance & Capital Dance playlists, plus a Headliner Mix on BBC R1Dance, with support on over 30 editorial playlists including the cover of Spotify’s key tastemaker playlists ‘Altar’. O’Flynn’s recent single ‘Sekete’ was an instant hit among A-listers, with support from Bonobo, Floating Points, Caribou, Barry Can’t Swim and Gilles Peterson; hitting #1 in the Beatport Bass/Club Top 100 and peaking at #47 in Shazam’s UK Dance Chart; it premiered with a first play by Sian Eleri on BBC R1’s Future Artists before seeing support from Danny Howard, Jack Saunders, Arielle Free and Jaguar as well as X6 Spins from Nick Grimshaw on BBC 6 Music and X3 plays from Jenny Greene on RTÉ 2.
Upcoming events include an exclusive in-person listening event at the Devon Turnbull Room @ 180 Studios, the sold out Cirque du Soul Summer Party (The Cause) and Glitterbox Ibiza on the day of release.
Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.
Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.
"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.
Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.
Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.
Brand new tracks made from the Havana Sessions, recorded by Brian d'Souza aka Auntie Flo in downtown Havana around 2015.
'Havana City' is a joyous, summer anthem in the making, featuring Andrew Ashong on vocals and a host of Cuban musicians. Think Nuyorican Soul's classic 'I Am the Black Gold Of The Sun' with a Tony Allen-inspired drum beat, luscious string arrangements, triumphant horns and addictive keys - all given the space they deserve and fully justifying the 11.5 minutes run time.
The 2026 version of 'Die Bailando' re-invents the original minimal electro beat to a latin rhumba-influenced groover. Grammy-nominated singer Eric Alejandro aka Cimafunk's vocals are a huge highlight, now fused with new guitars from Ziggy Funk and drums from Ibibio Sound Machine's Jose Joyette.
Completing the package is a remastered version of 'Mother Theresa' - which has close to 2 million plays on Spotify but was never released on vinyl. Drift away to the sounds of the Malecon...
A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be
paid to environmental charities.
Don't Know How To Change: a timeless house music masterpiece.
Since Julian Lindsey slid smoothly into the New York House scene back in 2014, he has become renowned for his sharp musical intuition, slick selections and a symbiotic relationship with the crowd. He takes the groove on the record and transmits it to the groove on the dancefloor.
Don't Know How To Change is Julian Lindsey’s debut EP, released on the Sound of Vast. The title track is smooth beyond belief, funky house keys and a laid back soulful vocal work with the bass to make your hips start to move, before a house backbeat takes you by the hand onto the dancefloor. At 3:15 mins, Julian Lindsey plays his ace card with a TB-303 acid tweak drenched with emotion. Just superb. The Subb-an Dubmix stays true to the original, claps and snares bring a dancefloor immediacy, the vocal line chopped to bring the funk. Ibiza will go wild for this Dubmix.
Miami Air starts with a Funktion-1-lovin’ deep velvet groove. Close your eyes and you can almost smell that dusky, warm Atlantic coast beach at sunset, driving with the roof down as the lights start to twinkle across Vice City and the bass drum beats through your fulcrum. A perfect companion for Don’t Know How To Change. Francesca Lombardo’s remix takes Miami Air from dusk to deep night, A mini Moog 4/4, rimshot claps and a vintage synth line guides you past midnight onto the dark, humid dancefloor where bodies writhe.
Julian Lindsey tells us more: The EP is really the story of my relationship with house music and a snapshot of where I was in my life when I made these tracks. I have an obsession with house music that is borderline unhealthy. The sound is rooted in 2010s house music, which is the era where my love for house music really developed.
東京 / アムステルダムを股にかけるレーベルSound Of Vast から、NYC拠点のアーティスト Julian LindseyによるデビューEPをリリース！
レイドバックしたグルーヴに物憂げなコードとスムースなヴォーカルが踊るレイトナイト・ダンサー"Don't Know How To Change"、現代的でクリスピーなタッチと虚飾を捨てた洗練が宿る"Miami Air”。新鋭と聞いて疑いたくもなる研ぎ澄まされた感覚からは、さながら10年代「Pampa」や「Smallville」作品のメランコリア、Galcher Lustwerkのロウなアウトサイダー・ハウス、あるいはRed Pig FlowerやThe MoleによるSound Of Vast 原典を思い出す。実際Julian Lindsey自身、この年代のディープ・ハウスへの熱狂からキャリアを始めているようだ。
A-2には Sound Of Vast への帰還を果たしたベルリンのベテラン Subb-anの、B-2にはUK拠点のFrancesca Lombardoによるリミックスを収録。ここ数年「X-Kalay」やThomas Melchiorの「My King Is Light」等からプログレッシヴな快作を飛ばすSubb-anがアクアティックに再構築した前者、期待以上のサイケデリックなテクスチャーで時間感覚を狂わせる後者。それぞれの卓越したサウンドメイクで昇華されたDJツールが出揃っており、いずれも現代ダンスフロアからの要請に真正面から応えてくれるはずだ。
本作はJulian Lindseyのバイオグラフィーの第1弾を飾るエヴァーグリーンなディープ・ハウス作品であると同時に、常にダンサーを見つめてきた Sound Of Vast から送り出された、信頼のおけるフロア・フレンドリーなEPでもある。
Back on Celestial Echo Records with a true modern soul classic — Jan Jones “Independent Woman”, finally given the treatment it deserves.
A record that’s been circulating in DJ sets and collector circles for years, often via bootlegged pressings as the originals are incredibly rare, this is the first fully licensed reissue, presented properly and with both sides intact - something the bootleggers didn’t do.
A-side Part 1 delivers the track in its purest form — tight, uplifting, and driven by that unmistakable modern soul groove. On the flip, Part 2 stretches things out into a longer, more open version, letting the arrangement breathe and giving the dancefloor the 6 minutes it deserves.
Musically, it sits right in that sweet spot for us — rich vocals, warm keys, and a rhythm section that just grooves. It’s one of the ultimate modern soul tracks.
Licensed officially, as always. Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.
Arpy Brown & Kapote Announce Collaborative Album Memento Ludi via Toy Tonics
A sun-drenched fusion of yacht rock, house and modern indie dance energy – out June 26, 2026
BERLIN, GERMANY — Toy Tonics is proud to announce Memento Ludi, the first collaborative album by label founder Kapote and multi-instrumentalist producer Arpy Brown, arriving June 26, 2026.
The album is a funk-driven journey that bridges the warmth of 1970s analog recordings with the pulse of contemporary dance music. Blending neo-soul grooves, yacht rock harmonies and modern house rhythms, Memento Ludi captures the spirit of classic musicianship within a forward-looking club context.
But Memento Ludi is more than a typical house record. The album moves fluidly between dancefloor tracks and fully developed songs. Every instrument was performed live by the artists themselves: guitars, bass, keyboards and percussion recorded in the studio by Arpy and Kapote. After jamming and recording the basis of every song in a live procedure they carefully resample the parts to create the organic, human touch that defines the Toy Tonics sound.
The title Memento Ludi — Latin for “remember to play” — reflects the album’s philosophy: bringing joy, spontaneity and musicality back into dance music at a time when many club tracks feel increasingly mechanical and formulaic.
The collaboration arrives during a particularly busy moment for both artists. While spending countless hours in the studio, Kapote and Arpy Brown have also maintained intensive international touring schedules with the Toy Tonics crew, road-testing many of the tracks as “secret weapons” in their DJ sets from Melbourne to Los Angeles via their homebase Berlin.
“We wanted to make a record that felt like a lost studio session from 1978 — resampled and synthesised in 2026,” says Kapote.
Soul Damn Funky Records gets waxy for the first time with a new EP from some key associates. The vibes are immaculate with a knowing nod to the 90s, starting with The African Sunset Project's 'Your Smooth Heart' (feat Louis Squire), a sun-bathed and slouchy deep house warmer with Balearic guitar licks. Russell Ruckman's 'Grand Risings' brings some big sax energy, then newcomer MAX JAX's 'Supernatural' has a buttery vocal and neat chords riding a chunkier US garage groove. Steven James closes down an EP that will keep you warm all winter long with the vaping chords and shimmered vocals of the lush 'Time 4 Us 2 Shine'. Real house music with tons of heart.
Released on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.
Leopard DaVinci is the official keyboardist of Dabeull's Band.
“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.
“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.
![Various - [QR]V.324.SDD.26](https://www.deejay.de/images/l/1/1/1270011.jpg)
