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With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

Kusht surfaces with a playful release full of tottery synths, crisp percussions and mind-bending samples.
On this 6-track LP released on almost occult YNFND from Germany's ever rainy baltic coast, the Scottish producer easily blends bluesy guitar riffs
with wailing electronic pads. 
Shuffled backbeats melt with ominous samples into a sticky glue, trapping every listener into a bouncy dance.
Kusht can already look back on a vivid and versatile back-catalogue but still manages to top it off with a many-sided and thought-out work of art in his signature style. 
This 12" full of folkloristic beats has what it needs to become one of this year's secret weapons, with early support of some of Germany's acknowledged tastemakers.

Kanot is Jesper Jarold and Anton Kolbe. With their wide open ears and sharp sense of adaptation they have been involved in some of the last year’s most interesting Swedish musical acts - Fontän, Tross, Uran Gbg, Ultra Satan among others. With the help of Lindha Kallerdahl’s expressive vocals, Jarold and Kolbe weave an eclectic yet durable sonic textile. Call it music for psychadelic hiking, primitive dance beats or speculative folk music - most of all, it is unrestrained music, for the smartest and the dumbest kid in the classroom. In the dense, and at the same time airy production, some drums anchor themselves steadily into the ground while others lash out like reverberating rhythmic gunshots. The tones from Jesper’s guitar and fretless bass float like leaves on the Drangme Chhu River, at times almost drowning in effects only to resurface in surprising and skillfully chiseled melodies that could play forever. This Höga Nord Rekords 7” is just a teaser of an exciting collaboration of which we have yet only seen the opening credits!

Giallo Disco is more than happy to welcome one of the absolute O.Gs of the 2nd wave of horror synth, the one and only Kansas City Warrior turned Mr Dr Hollywood himself… Umberto, who’s new EP ‘Outskirts Of Reno’ takes us deep into the seedy underbelly to tell the tale of a kidnapping. From the EBM dancefloor darkness of The Basement to the ascension-like arps of Repeat. Five brand new tracks from the master of mood destined to work it’s way into the record bags of discerning DJs across the globe… and into the nightmares of the weak… Limited to 200 Copies. Art by Eric A Lee.

With its fourth catalogue number, Steinlach returns to the vinyl format with a remix EP. On board are international friends of the label, who layed hands on Wice's originals with outstanding re- interpretations. While the A-side contains two groovy and club-oriented remixes of "Just kiddin", the trippy flipside focuses on the second outcome of the label and refers to the two pieces "Absent" and "Hertz".

The record opens with a fast-paced and jacking "Just Kiddin" version by Deep'a and Biri. The two guys from Tel Aviv re-interprate the clubby aspect of the piece, furnish it with a portion of percussions and accompany it with a volatile beat. Discharging the track with a big bang, they're leaving the listener with no chance but to move energetically to the groove patterns while cherishing the original lead melody.

Just like Deep'a and Biri, Jon Hester bets on the energy and the recognition value of the original synth line. As typical for Jon, he gives a more Chicago-style housey and bouncy touch to the composition. The lead is getting chopped, re-interpreted and re-arranged into a new groove and melody pattern, sure to inspire the floor to shake and to catapult everyone around into a frisky dancing mood. Suddenly, the well-known arpeggio of the original comes in and makes for the climax of this brilliant remix.

With side B, the club aspect of the record might not be left behind, but moved into more stripped and trippy terrains. The B1 track is fashioned as a ruthless "Absent" version, unmistakably having Refracted's writing all over it. The smallest variations of the synth line, drones, and pads, without resorting to typical drum rack aspects, find their way deep inside the listener's head, and draw them into their subtle rhythm. The unapologetic roughness of the interpretation is striking and makes it a brilliant peaktime weapon.

Rounding up the whole EP, the last remix of the record is a wonderful re-interpretation by the talented Australian that is Mosam Howieson. He ministered to Wice's personal favourite piece and crafted a loving and deep version of "Hertz", which translates the magic of the original into own words and emotions, adds a subtle groove to it, then invites to listen more carefully. One quickly dives into a hopeful world in which a certain magic seems to be present, and where everything seems to be alright. Be it as a perfect last piece after a long fulfilling evening, or as the outstanding means to make the sun rise in the morning-Mosam's interpretation sure hits the spot.

Special thanks go out to our close friends Simon Sandleitner who is always in charge of the great artworks and Roger Reuter (Roger23) for having always an open ear, his helpful advises and his thought-out criticism.

Christian Engh is a character left out of the Lords Of Chaos movie.
They were the kids hanging around the infamous record store of Euronymous.

He wore black before it became techno...

Kajunga’s fourth release and second various artists EP features a track from each of the founding members: Berndt, Cloudy Kid, Ryote and Private Guy. This special edition white vinyl elevates the label to a new level of craft with full color, hand numbered jackets featuring artwork from Minneapolis artist Jeremiah Soup.

True to form, Kajunga aims to address every angle with a new compilation featuring four infectious dance tracks unique to each artist’s sonic palette.

Berndt opens with captivating, downtempo rhythms and moody extracts, followed by a smooth n’ sassy, electro-esque anthem from Cloudy Kid. Flipping to the B-side, Ryote plunges into a cosmic swamp overflowing in deep-trench clatter, while Private Guy takes on a more enigmatic approach, closing the EP in acidic entanglement.

PROPER PIC SLEEVE REISSUE OF THIS EARLY LCD 12" FROM 2004. ‘Yeah’ was the follow up to LCD's breakout track "Losing My Edge," and was kind of a sleeper that has definitely stood the test of time and is worth a revisit. LCD records seem to speak to those kids sick of the scene, who want their 12" to retain interest longer than the next trend, but without sacrificing up to the minute relevance. An impossible feat, but listening to tracks like "Yeah (Crass Version)" will make you a believer. The song writing and composition are the foundations that the track is built on, with enough rock pretentiousness and sleazy analog to keep you interested. It takes a little more to keep our jaded ears interested these days, and this is might be it. "Yeah (Pretentious Version)" is a completely alternate version, offering a cleaner instrumental take on the track. Also includes the "Clap-a-Pella." Recommended.

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

2019 bietet das Tag am Meer Festival nicht nur die gewohnt
schöne Kombination aus Landschaft, Musik und wunderbaren
Gästen, sondern es gibt auch noch einen kleinen Geburtstag
zu zelebrieren: unsere Tag am Meer Vinyl Compilation
zelebriert ihre fünfte Veröffentlichung. Seit 2015 präsentiert
BlackFoxMusic jedes mal eine ausgewählte Selektion an
Tracks von Künstlern, welche im jeweiligen Jahr bei Tag am
Meer gespielt haben und das gepresst auf schwarzem Gold.
Dieses mal mit Kid Simius im Magit Cacoon Remix, Kollektiv
Ost und dem Live Act JPattersson. In Zeiten von Spotify,
Deezer und Co. mag das für manch einen kurios anmuten,
doch so wie wir unser kleines Festival an einem ganz
außergewöhnlichen Ort veranstalten, ist auch die Idee und die
Umsetzung unserer jährlichen Compilation etwas Besonderes.
Die DJ’s und Live Acts liefern die Musik und die
Besucher*innen, liefern jedes Jahr aufs Neue die Bilder für das
Plattencover im darauffolgenden Jahr. Jedes Plattencover
setzt sich aus euren Schnappschüssen zusammen die Ihr uns
zusendet und ist somit ein waschechtes
Gemeinschaftsprojekt. Für uns ist dies eines von vielen
Puzzleteilen, welches zum Tag am Meer dazugehört, denn
Gemeinschaft lässt sich nicht nur zwischen Campingareal undDancefloor erleben, sondern auch im Rahmen eines Projektes
wie einer gemeinsamen Platte. Und dafür möchten wir euch
allen einfach einmal ‚Danke‘ sagen.

Porridge Bullet reveals it’s third “Bullets” compilation with five dancefloor lifters.

AIWA is on warm up duties stomping away with bubbly saturated electronics. He hails from Budapest by the way. On to Madis Puuraid aka Profile and “Teramachi's” shimmering ambience lead by a funky drummer. Let this one roll a while before you show off your mixing skills. Estonia’s ug-scene oldtimer Neuronphase makes his second appearance on the label with nods to breakbeat. “I Have None” will make them come closer. Fact. There’s a second track by him on here too… Ruutu Poiss stretches his wires between Amsterdam & Tallinn with ease –– “Mjau” purrs in his unique broken-not-broken style.

Hey kids –– no digi!

2025 Repress

2019 marks the year that Music for Freaks has officially been running for over 20 whole years. Two decades of topsy turvy, downright Freakish behaviour. How the hell did that happen?

So, what better time to delve deep into the labels vaults again and uncover more of its hidden treasures. Back in 2015, we approached some of today's most discerning producers, those who truly "get" the label's ethos from old, to let them loose on tracks old and new. It brought to the fore the "Freaks - Let's Do It Again" series of releases and we're super chuffed to bring you the 3rd in the series to kick off the label's 20th anniversary celebrations; a new collaboration with likeminded artists and we think you'll agree it's another testament to the divergent & insouciant house music that has always been the beating heart of this label.

First up, we welcome back the Chilean anti-hero Ricardo Villalobos.

When we sent Ricardo the parts to the Freaks album, "The Man Who Lived Underground" a few years ago, he sent back 5 interpretations which blew our collective minds. This is the 3rd of his journeys. Edited by head Freak, Justin Harris, it delivers a tripped out, discordant tech mix of the Freaks track, 'He's Angry' and is a wonderfully warped and highly hypnotic jam, that drives deep down into the subconscious.

The 20th anniversary wouldn't feel right without some brand spanking new music from Freaks themselves.
This track was properly hidden in the Freaks DAT vaults from the 1990's and Justin & Luke have dusted it off, mixed it down and "Unbeknown To Us" will finally see the light of day. It's safe to say Freaks have always had a timeless feel to their music and this track, despite being 20 years old as an original production, is no exception.

Next up, The Martinez Brothers make their MFF debut and to say we're chuffed to be releasing this one after 3 years of it being in the vault, is a huge understatement. There's nothing but good vibes, cranked to eleven, on this cut and the brothers have cooked up a true rip snorting tech house remix of "Time", that will charm the roof off any self-respecting club or festival tent.

And last but by no means least, fellow previous collaborators on Let's Do It Again, Part 1, Gerd Jansen and Phillip Lauer, aka Tuff City Kids, have graced us with another superb remix of a firm Freaks favourite from back in the day, "Turning Orange". The duo have whipped up an excellent stripped 808, electro-hop mix with low slung electro beats, minor key atmospherics and nostalgic 80s vocal pitch-shifts. Villalobos, Martinez Brothers, Tuff City Kidz and Freaks all on the same record? This is the type of house music madness that dreams are made of.
A fitting start to the celebrations - we reckon you'll agree!

At WNCL HQ, we’ve been hanging tough with new kid on the block, STAVROGIN (Stray Landings, 3BS, Last Drop) who has blown our mind this time

He provides 3 fresh original tracks in follow up to his recent debut appearance on We Are Family Vol 4. Remix duty is taken care of by fellow Cassette Librarian and breakbeat scientist, LMAJOR who comes through with the right stuff...

LTD Edition!

Georgias erste große Single des letzten Jahres „Started Out“ erscheint nun erstmalig als 12“ Vinyl inklusive des Remixes von Tuff City Kids. Das Frankfurter Elektronik-Duo ist die kreative Kombination aus Gerd Janson und Phillip Lauer und bekannt durch zahlreiche Remixe u.a für Tensake, Alter Ego, Legowelt, Sven Väth, Erdbeerschnitzel and Azari & III.

The first official reissue of ‘Good Lovin’’ – a modern soul dancer with a killer groove, heavy low-end, delectable string & horn trade-offs and the husky tones of the inimitable Al Mason, that blew up on the scene in 1980 and now commands eye watering prices between collectors. This dinked 7 inch comes backed with ‘We Still Could Be Together’ off the original promo 12 Inch, with both tracks fully remastered and officially licensed for the first time since its original release.

‘Good Lovin’’ stormed dancefloors back in the early ‘80s taking Al’s undeniable, raspy vocal prowess and stirring it up with an energetic combination of funk guitars, full frontal basslines, on-point harmonies and a perfectly arranged string and brass section. It’s been a rare treasure on the second-hand market with original copies trading hands for £400 so an official reissue will be music to many an ear.

The B side, ‘We Still Could Be Together’, is an emotive ballad filled to the brim with Mason’s tangible passion alongside smoky pianos, cinematic strings and velvety backing vocals. A slow stepper with a bittersweet message behind it.

Lance Ferguson's Rare Groove Spectrum collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities found fans everywhere when released earlier in 2019. The extended reworking of Earth Wind & Fires' 'Brazilian Rhyme' was selected for Jazz FM's A playlist and stayed there for months.

Lance has always enjoyed imaginatively taking a classic rare groove and re-recording in it a different genre, and it has to be said that his latin-ised version of the great jazz organist Jimmy Smith's '8 Counts for Rita' is a concept no one saw coming. Kept back from the Rare Groove Spectrum album, we proudly present it here in all it's swinging, samba-fied glory!

Spanish DJ & remixer Flow Lab Kid (Sergio Cáliz López) is also along term Ferguson fan , and he delved back over 12 years to Lance's very first 'Black Feeling' album and did own 'Blessed' remix of The Blessing Song (which was originally and amusingly credited to the fictitous group The Shirley Eubanks Ensemble) but was in fact a version of jazz violinist Michael White's spiritual jazz track from his 1972 album Pneuma on Impulse Records.

Finally, there is a straight down the line funk version of the Blackbyrds Theme that also didn't make it onto the Rare Groove Spectrum album, although it was always planned that it would see the light of day and what a great way to round off Lance Ferguson's Rare Groove Spectrum - remixes and rarities.

Hélder Russo returns after serious releases on Groovement and Tomorrow Is Now, Kid!. For his fourth 12” EP on Percebes, he’s crafted three solid, deep cuts. Clear homages to the more spiritual side of house and techno from Chicago and Detroit, complete with a killer techno remix by Leonidas (Hobbes Music) that is all about that UR vibe. Can’t be missed!!

Meanwhile in the Blast Office, Party Nails have been cooking straight bangers for bent dancefloors.

Four more heaters to test your meters.
Following an inclusion for PN001 in DJ Boring's Phonica top 10 for 2018 the duo gave up their day jobs to pursue their dream of full-time idiocy.

Please buy this record. The kids still need wine.

DON'T ASK WHY - JUST BANG THE NAILS

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.