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We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

Technically, Yeah. Detroit artists Eddie Logix and Jo Rad Silver alchemize sonic matter on Real, No. The EP emerges from years of creative collaboration and blends each of the artists’ strengths into a deep-house, hi tech jazz, dubby leftfield assemblage straight from the pulse of today’s Detroit.

Since 2017, the pair has been producing tracks and co-curating Technically, Yeah., an influential monthly happening that encourages (Live) electronic musical expression. The duo’s curation is grounded in community, widely genre-diverse and steadfast in commitment to technological experimentation. The Real, No. EP distills this ethos and puts it on wax.

While Jo Rad is known for techno leanings and Eddie for organic jams (recently on Rocksteady Disco,) the two transform beats into substance with a diverse and thoughtfully constructed release. Glued together with attuned mixing from Salar Ansari and cut loud at Archer Pressing in Detroit, the EP’s range puts deep grooves in the bag for every discerning DJ.

AKKA’s Side: “King David” sticks the synthy deep house groove right in gear with a driving, bubbling bassline and floating effervescent vocal chops from and for a special someone. “Mango Strut” offers a slight island twang and dives into a breaky depth of a bracing cathartic arpeggiated, hand drum ecstasy. A vitamin filled chugger.

BEEP’s Side: The duo recorded “June Buggy” the first time they jammed together on a borrowed Juno. This propulsive Italo-ish conga groover is a mechanical piece of action. The record ends by summoning the ancestry of “Callin’ Dybbs,” a textured hi-tech jazz heater. Kasan Belgrave, young-gun horn of known pedigree, lays down the sax. The sultry brass tones lock in with buxom stabs. For those who know and those who don’t yet. This one holds depths!

“Fierce jazz buggin futurism in outerspace” - Luke Una

“Driving and psychedelic and gorgeous hi-tech.” - Peter Croce

“Perfectly crunchy soul squeezed jams begging to be rinsed” - 2Lanes

“Funky, jackin’, atmospheric, groovy, ravey and ethereal”- Father Dukes

“I’m calling dibs on callin’ dybbs!” - DJ Etta

Der Album Klassiker von Mr Scruff zum ersten Mal auf Vinyl (3LP im Deluxe Gatefold) inklusive einigen Bonustracks, Sticker und Downloadcode!

Als DJ spielt Andy Carthy alias Mr. Scruff quer durch alle Genres: Soul, Funk, Hip Hop, Jazz, Reggae, Latin, African, Ska, Disco, House, Funk, Breaks, Soundtracks und vieles mehr. Als Produzent macht er Musik, die sich auf diese Einflüsse stützt, mit einer großen Portion Frechheit und guter Laune. 16 Jahre nach der Veröffentlichung seines Album-klassikers "Ninja Tuna" wird die Platte zum ersten Mal auf Vinyl veröffentlicht, und zwar in Form einer schwarzen 3LP-Biovinyl-Deluxe-Scheibe in einem Gatefold-Sleeve aus Graukarton und mit einem unendlich abziehbaren Thunfisch-Aufkleber auf dem Cover. Inklusive Features von Roots Manuva, Quantic, Alice Russell, Andreya Triana, Danny Breaks, Pete Simpson, Skuff & Inja.

First in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Malik,' originally released in 1974. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Under the new moniker Lafayette Afro Rock Band, the group's music transitioned to predominantly instrumental compositions, featuring a denser Afro-funk sound. Their inaugural recording with the new name, 'Soul Makossa,' included a compelling rendition of Dibango's classic and the impactful break in 'Hihache.' The subsequent release a year later, 'Malik,' refined their sound with the percussive Afro party jam 'Conga,' the atmospheric vocoder and piano-led piece 'Djungi,' and the robust funk of 'Darkest Light.' Despite a limited impact upon its initial release, 'Malik' found appreciation as hip-hop culture flourished in the '80s, establishing itself as a rich source of samples and riffs. 'Conga' was featured in the 'Ultimate Breaks And Beats' series, while the opening horn line from 'Darkest Light' became a pivotal hip-hop motif, employed by Jay-Z, Public Enemy, Wreckx 'N' Effect, and many others

Second in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Soul Makossa' originally released in 1973. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Rechristening themselves Lafayette Afro Rock Band, the group's musical direction shifted towards predominantly instrumental compositions, characterized by a weightier, more intricate Afro-funk sound. Their debut recording under this new moniker, 'Soul Makossa,' made a powerful impact with a dynamic rendition of Dibango's classic, coupled with the intense break of 'Hihache' and the contagious 'Nicky.' Initially released by Musidisc in France and later in the U.S. via Editions Makossa, the album omitted the title track due to publishing clearance issues.

Despite modest sales upon its initial release, the album's enduring influence became evident as hip-hop culture surged in the '80s, establishing it as a primary source for samples and riffs. The iconic 'Hihache' break found fame in Biz Markie's 'Nobody Beats The Biz,' and tracks from the album were lifted by LL Cool J, The Beatnuts, Kruder & Dorfmeister, and numerous others.

For Fans Of... El Michels Affair, Adnan Younge, Roy Ayers, Karnem Riggins, The Roots, Khruangbin. Producer "Grimez"” has been making music for 20 years deep, Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analogue instrumentals. Very limited black vinyl LP. Genre: Hip Hop. Doctor Bionic is back on the airwaves. The newest album from Cincnnati based executive producer Jason Grimez is an instrumental collection of classic soul, jazz, and hip-hop sounds. The first instalment of a three-part series, Terrestrial Radio offers 37 minutes of carefully curated jams. Tune in to catch the vibe on 1/26/2024. Jason Grimez is an engineer, executive producer, and the owner of Chiefdom Records. Growing up in the 90s, he fell in love with hip hop at an early age. He started scratching on a pair of 1200s and sampling records with an MPC 3000 in high school Years of sampling, mixing, producing, and sharing his own music led him to where he is today. His independent label Chiefdom Records has released close to 30 albums in the last seven years. His studio persona Doctor Bionic was one of the first to see a release on the new implant. The project features a rotating cast of incredibly talented session musicians. Jason is responsible for writing, recording, producing, mixing, and releasing the records. Grimez sets the scene on track one of Terrestrial Radio, aptly titled “Time Continuum.” The listener is greeted with the scrubbing sound of a radio dial We pause for a few seconds when the signal is strong enough to catch an ad-read from an old cereal commercial, or to gather an update from a sports announcer. Grimez takes the listener to a new era each time he spins the dial. Our search comes to an end on the channel where we’ll cruise through the next six songs, hand-picked by the Doctor himself. Terrestrial Radio features some of Cincnnati's best session musicians. “Keep Your Kids in School” highlights a killer rhythm section. Brian Batchelar-Glader recorded the organ over an effortlessly funky foundation formulated by Manan Havéans (drums) and Aaron Jacobs (bass). With an equally punchy bass line, funky guitar jabs , and thoughtful trumpet arrangements (Michael Mawnidoglou), “Wire Fraud” s the perfect soundtrack for your next bank heist. The remainder of the record offers everything from shuffling gospel grooves to head-nodding drum breaks. As Doctor Bionic, Jason Grimez has carved out a niche for a community of musicians to thrive in and build upon. Grab a copy of Terrestrial Radio on 1/26/2024 and stay tuned for the second instalment in the series.

A Jazz Dance Favourite that Jazz Room Records Head Honcho Paul Murphy was hepped to by Brownswood and 6Music Jazz Supremo Gilles Peterson at the 20th Birthday Bash of London's most Underground of Clubs: Shiftless Shuffle.

Murphy: "I'd quite forgotten all about it, but when I saw the reaction on the dancefloor it was "Mental Note Time, get on the case for a full investigation and let's see some Vinyl re-issue action!"

The head of the original Danish Label, Pick Up Records, later reminded Paul that he was selling the originals in his original Jazz Record Shop "Fusion Records" when the original was released and that he, Peter Littauer, had actually delivered them personally on a trip to London. Synergy in action!

The music is a mixture of 100mph Latin Jazz (Girl With Three Faces/747 To Rio/From Dusk Towards Dawn) and Funky Rhodes driven workouts (Travelling/Circles In The Air), plus the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe who guested on two of the tracks.

Welcome our dear listeners to the second vinyl record from Rewind Ltd!

We never cease to amaze you with our wonderful specialities of music tracks prepared by our talented residents and new names. On this disc you will find beautiful jazzy deep house that will immerse you in an atmosphere of relaxation and meditation. And if you want to dance, we have prepared for you a brilliant disco and groovy house vibe that won't leave anyone indifferent!

Our Rewind Ltd vol.1 compilation is a bright, rich, intense mix of music with shiny synths at the front, disco motifs in the centre, and danceable crunchy vibes at the end. It's a real cocktail for our listeners who love variety and quality music. We have gathered the best guys from all over the country to create this musical masterpiece for you. So don't miss this chance and savour our wonderful specialities of music!



Comes as 180 gram Viny only!

Keep Marching is the opening number from Baggy Leggins and Duke Hobo, it is a captivating oddity that head nods out of winter to the very essence of spring, with a marching beat and the joy of breathy vocals intrinsically entwined with acoustic guitar and a splash of Rhodes.

The expansive universe of Shuffleupaguss is a progressive latin party fed through the clanger’s mystery of vibes machine, Bass carries the rhythm of housed pinata funk into A 1950'S rave held by Liberace and what not on the cuica.

Out of print as a stand-alone release for decades since its original 1974 issue. Produced by George Harrison, Shankar Family & Friends is an almost-forgotten masterwork – an emotional and sonic pact between two like-minded souls to both advance their spiritually minded bond and unite musical styles, cultures, and sounds in wondrous fashion Contributions from Ringo Starr, David Bromberg, Billy Preston, Nicky Hopkins, Jim Keltner, Klaus Voorman, and a host of virtuosic Indian musicians add to a diverse album that melds Eastern and Western traditions; encompasses jazz, funk, bhajan, Indian, and pop; and represents the spirit and breadth of Harrison's Dark Horse Records imprint.

Memorable contributions from an A-list of American and English musicians — Ringo Starr (drums), David Bromberg (electric guitar), Billy Preston (organ), Nicky Hopkins (piano), Jim Keltner (drums), Klaus Voorman (bass), Robert Margouleff (Moog), Malcolm Cecil (Moog), Tom Scott (saxophone) included — add to the richness of a set that melds Eastern and Western traditions. These “names” mesh with a host of Indian virtuosos — Alla Rakha, Ashish Khan, Kamala Chakravarty, Hariprasad Chaurasia included — who turn Shankar Family & Friends into a journey laced with percussive, string, and vocal components that aren’t soon forgotten.

Throughout, Shankar Family & Friends remains true to its title — a mesmerizing record named to reflect the group participation approach of its creators. The idea started when Shankar told Harrison about a ballet he wrote. The Beatle, who first met Shankar in June 1966 — roughly a year after Harrison became interested in Indian music after overhearing it in a restaurant while filming Help! — immediately was convinced they needed to record it. Harrison’s staunch admiration of Shankar and serious approach to Eastern styles are reflected throughout the album.

Indeed, for Harrison, Shankar Family & Friends marks the culmination of a years-long effort to master the sitar, study Hinduism, and incorporate elements such as drones, unusual chords, and expressive picking into his own songs. The seeds of this unique collaboration can be heard in Beatles works such as “Norwegian Wood,” “Love to You,” and “Within You Without You.” Both musicians were also fresh from performing at the 1971 Concert for Bangladesh shows. Yet Shankar Family & Friends remains entirely unique in each visionary artist’s history — and ultimately, led to a collaborative tour Harrison and Shankar staged across North America.

Encompassing jazz, funk, bhajan, Indian, and pop, Shankar Family & Friends is thematically split into halves. Side One reveals Shankar’s uncanny ear for melody — even when applied to Western forms. The lead-off “I Am Missing You,” the first single ever released by Dark Horse Records and reportedly the first pop composition Shankar completed, underscores his skills as a composer and global ambassador. Beautifully sung across three octaves by his sister-in-law, Lakshmi Shankar, the devotional song features multiple drummers and production that mirrors Phil Spector’s Wall of Sound approach. Harrison plays autoharp and guitar; Starr sits in on drums; Scott handles flute and soprano saxophone. It’s the inviting start of a musical adventure teeming with color, majesty, and mysticism.

A second version of the track — designated with a “(Reprise)” tag — appears minutes later. Unfolding in different ways, it follows a folk ballad structure stitched together with Indian instrumentation. Here, according to Shankar, the musicians “attempted to convey the sounds and atmosphere of Vrindavan, the ancient holy place where Krishna grew up.” Both renditions speak to the cross-continental fusion that came so naturally to Harrison and Shankar, whose oversight on the side’s other vocal tracks ensures listeners familiar with Western methods gain easy access to the hypnotic allure of his native country’s music.

Nowhere is this more evident than on Dream, Nightmare & Dawn (Music for a Ballet), the side-long piece that served as the genesis for Shankar Family & Friends. Launched with an airy overture and unfolding across three movements, the mostly wordless suite features everything from call-and-response interplay and classical lyricism to uptempo dance figures, stacked rhythms, and intoxicating grooves. Blurring the lines between contemporary and traditional, and Western and Eastern, the inspirational work is the exclamation point on a record that defined “world music” well before the term became co-opted as a catch-all genre.

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

Halle Weissensee (or Weißensee if you wish) starts where Sascha Funke’s last Ep for Running Back stopped. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind.
The Halle was a former engine plant in Berlin that got converted into a rave areal for the now legendary Mayday raves and one of the birthplaces and leading spots of the nineties. Coincidentally and unknowingly, 1993’s winter edition was attended by Funke and Gerd Janson and a conversation about it spawned this record. Don’t be mislead: this is not a retro rave fest, but an ode to the esprit of the times, the possibilities if an envisioned future and maybe most of all an afterglow. While Reality (sounding like a Relief record if the label would have been a topic at Bauhaus university) and the warped bleepiness of Halle Weissensee itself come closest to the actual sound aesthetic of that very night, Fantasy invokes the language of contemplative deep house from vintage New York, while Puzzle evokes a notion of what the same thing could be with the prefix progressive instead. Reality often falls short behind fantasy, but once in a while both complement each other very well.

Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!

The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.

La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.

These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.

To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.

The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.

The new record from San Francisco based band Monophonics entitled "In Your Brain" sits on the fuzzy psych side of soul and funk. Paying homage to innovators such as Sly Stone, Norman Whitfield and Funkedelic's George Clinton, the 6 piece outfit displays their ability to put a moody stamp on each composition. Touching on everything from cinematic soul, heavy funk, 60's rock and spaghetti western laced with yellow sunshine acid, the album is sure to leave you tuned in and turned on!

The final album originally released in 1985 from Austin, TX, punk icons, Big Boys, now available on limited edition 180 gram purple vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Where's My Towel / Industry Standard LP, Lullabies Help The Brain Grow LP

Sophomore album originally released in 1983 from Austin, TX, skate-punk stalwarts, Big Boys, now available on limited edition 180 gram pink vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Where's My Towel / Industry Standard LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

Debut album originally released in 1981 from Austin, TX, punk visionaries, Big Boys, now available on limited edition aqua blue vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Lullabies Help The Brain Grow LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

“This record breathes a second life into these songs,” says Alejandro Escovedo of Echo Dancing, the Americana pioneer’s new album where he reconceptualizes the songs of his storied career. The variety of songs range from his short-lived rock quartet Buick MacKane, rarities from his ‘80s alt-country outfit The True Believers, to the celebrated songs of his solo discography from his debut album all the way to his most recent sprawling masterpiece, The Crossing. Highlights include a reimagined trip-hop-funk hybrid of Escovedo’s “Castanets” (retitled here as “Castañuelas''), a blistering version of “Bury Me” that finds that songwriter now older than the characters he was singing about, as well as songs co-written with trailblazers such as Chuck Prophet, Peter Buck, Scott McCaughey and J. Steven Soles. At age 73, Escovedo continues to reshape his ever-changing sound and experiment with the boundaries of Americana music. The 2xLP vinyl edition of Echo Dancing is pressed on gold vinyl and arrives in a gatefold jacket.

Echo Dancing by Alejandro Escovedo, released 29 March 2024, includes the following tracks: "Bury Me", "Too Many Tears", "Outside Your Door", "Thought I’d Let You Know" and more.

This version of Echo Dancing comes as a 1xCD.

After achieving some decent notoriety, and not only in Italy, as an electro-pop duo (thanks mainly to the single 'Short Wave, a small 'classic' in the early years of that decade), between January 1982 and March 1983 Ruins morphed into a new five members line-up. With this fresh option, Ruins restructured the previous repertoire and produced entirely new material.

The original 4 track recording had remained largely unpublished at the time and seemed irretrievably lost. However, thanks to persistent research and with the aid of modern technology, they have been brilliantly recovered from the archives and are now available in this collection aptly titled “BRAIN FLAKES (The Lost Combo Tapes)“, bringing to light the 'explosive' blend of prog, funk, new wave, and electro-pop, that such short-lived lineup managed to create in just over a year of activity.

Tyler Pope's latest EP is an absolute belter, and the primary concern these four tracks are asking of you is right up front: Pay Attention to the Bass. And, honestly, with a sense low-end like what's on display here, how could you not? This new release from Pope-a dance veteran who's also known as a full-time member of LCD Soundsystem as well as a collaborator with artists like Hercules & Love Affair and Pantha Du Prince-arrives on his always eclectic Interference Pattern label, an imprint that has previously spanned left-field electronic sounds, noise rock, and avant-R&B. As such, Pay Attention to the Bass is anything but straightforward, with ricocheting rhythms and alluring textures that are as easy to get lost in as they are to move your body to.

Listeners familiar with last year's Make Each Other Happy EP, which embraced dark disco grooves and crisp percussion, will be delighted at the new curveballs on display here: "Why Must I" euphorically merges the propulsive charge of UK funky with delicious piano-house stabs, while "OKay" anchors itself around a rubbery bass line like a lost cut from the Remain In Light sessions. The flip side gets dark and dank with it, as "Close the Door" echoes with spooky clatter and dubby wobbles before sprightly vibes break through-and the closing cut "Where r they Hiding" goes full-on tunnel techno with it, conjuring a mood that recalls the haunted house music of Sandwell District as well as the cold-sweat futuristic visions of jungle. With Pay Attention to the Bass, Pope expands his sound wider than ever, and it just so happens that it's an absolute blast to listen to as well.

Kendra is excited to release a new 45, featuring a special a bonus track written and recorded during the 'I Am What I'm Waiting For' sessions, as well as a new 45-edit of her instant classic 'Birthday Song.' The A-side 'Fine Right Here,' the bonus cut from Kendra Morris's brand new LP 'I Am What I'm Waiting For' (which has received incredible support from the likes of Rolling Stone France, KCRW, WNYC, Flood Magazine, and countless others), takes a look into the deeply introverted side of Kendra. "This song is about being ok just sitting inside and missing the party," Kendra explains. "It's the antithesis to FOMO." Written to accompany a rainy day, the song feels like you're being enveloped in a hug. Sonically, the track tips its hat to Ethiopian Jazz and soul of the 70s, like Rose Royce and the Delfonics. The warm vibraphone, sturdy bass line, and vocal reverb create a layered tapestry of sound that wraps around your shoulders and drifts into your ears. The new 45-edit of 'Birthday Song' is for the DJs. It's an upbeat and funky jubilant jam that's ready and waiting to take the place of outdated standards. Both tracks were co-written and produced by Torbitt Schwartz (AKA Little Shalimar) of Run the Jewels, 'Fine Right Here' is a welcome departure to the upbeat nature of 'I Am What I'm Waiting For' whereas 'Birthday Song' is set to be a celebratory go-to

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics. 2024 welcomes the new 12” on the label with 4 hot and rare gospel disco/funk tunes to uplift your sets and throw people’s hands in the air!

“The Top” is an uplifting and relentless disco roller for incendiary peak times, “Hear my prey” suits the openings with its midtempo funky groove. On the flipside, “Lil Longer” gets deeper and moodier for the most demanding djs out there while “Giving It Up” rounds things up with its lovely boogie vibes.

All tracks have been carefully edited by Andrea Passenger without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors! 12” limited to 300 copies (no digital).

Intranced bestehen aus Musikern der jüngsten Classic-Metal-Welle, die an der US-Ostküste aufgekommen ist (Mitglieder von unter anderem Fortress und Poisoned Chalice), und Sänger James-Paul Luna (ehemals Holy Grail und White Wizzard). Die Band gehört nach nur einer EP und Single zu den heißesten Newcomern der Szene.

Den Grund dafür erkennt man, wenn man die sechs Stücke ihres Erstlings Intranced (2022) und die zwei Songs von Rogue Warrior (2023) hört, denn das Quartett aus L.A. vereint schillernde Musikalität mit erhabenem Songwriting, was ihre Musik im Grunde genommen vom Start weg unverwüstlich macht.

"Ich wollte ein Old-School-Metal-Projekt starten, das immer noch ein Rock-Feeling aufweisen sollte", erklärt Sänger Luna. "Wie zu der Zeit, als sich Hardrock langsam in Metal verwandelte, aber immer noch Groove, Funk und Boogie enthielt." Ob traditioneller US-Power-Metal in Verbindung mit Rock'n'Roll-Großspurigkeit wie in ‚Upside Down', die Punk-Attitüde des ansonsten wehmütigen Epos ‚Dream Lover' oder die rasante Band-Hymne ‚Intranced' - Intranced setzen die Messlatte mit ihren ersten acht Songs unglaublich hoch an.

Die von einem Cover des legendären Künstlers Michael Whelan gekrönte EP ist nun zum allerersten Mal auf Vinyl erhältlich, inklusive Rogue Warrior als Bonus, um die Zeit bis zur Veröffentlichung von Intranceds erstem Album im Laufe des Jahres 2024 zu verkürzen.

Red Vinyl

Intranced bestehen aus Musikern der jüngsten Classic-Metal-Welle, die an der US-Ostküste aufgekommen ist (Mitglieder von unter anderem Fortress und Poisoned Chalice), und Sänger James-Paul Luna (ehemals Holy Grail und White Wizzard). Die Band gehört nach nur einer EP und Single zu den heißesten Newcomern der Szene.

Den Grund dafür erkennt man, wenn man die sechs Stücke ihres Erstlings Intranced (2022) und die zwei Songs von Rogue Warrior (2023) hört, denn das Quartett aus L.A. vereint schillernde Musikalität mit erhabenem Songwriting, was ihre Musik im Grunde genommen vom Start weg unverwüstlich macht.

"Ich wollte ein Old-School-Metal-Projekt starten, das immer noch ein Rock-Feeling aufweisen sollte", erklärt Sänger Luna. "Wie zu der Zeit, als sich Hardrock langsam in Metal verwandelte, aber immer noch Groove, Funk und Boogie enthielt." Ob traditioneller US-Power-Metal in Verbindung mit Rock'n'Roll-Großspurigkeit wie in ‚Upside Down', die Punk-Attitüde des ansonsten wehmütigen Epos ‚Dream Lover' oder die rasante Band-Hymne ‚Intranced' - Intranced setzen die Messlatte mit ihren ersten acht Songs unglaublich hoch an.

Die von einem Cover des legendären Künstlers Michael Whelan gekrönte EP ist nun zum allerersten Mal auf Vinyl erhältlich, inklusive Rogue Warrior als Bonus, um die Zeit bis zur Veröffentlichung von Intranceds erstem Album im Laufe des Jahres 2024 zu verkürzen.

Vladimir Sivc (Funky Destination a.k.a. Mr. Louie) was born on August 19, 1979 in Osijek (eastern Croatia). With dedication to the retro sound of pure funky instinct, he set out to create a wild and groovy sound with this project. Louie took his first step into the world of music by taking guitar lessons. Later he devoted himself to rock singing and playing rhythm guitar.

At the end of the 90s the move from the eastern part to the western coast of Croatia (on the Adriatic Sea). The encounter with the turntable makes him experiment working as a DJ.

Subsequently he begins to produce his own music, traveling through various styles, using house and tribal elements trying to avoid artificial sound processing as much as possible. By using live instruments, the sound remains fresh and alive, resulting in a musical product whose vibrations contain an indestructible power of movement.

He has collaborated with several European labels including IRMA Records, Timewarp Music and Sound Exhibition Records.

In this single we find two of his most famous songs in remix version: Take It Down by LTJ Xperience and Mr. Bong by himself under his pseudonym Louie. Plus the original versions of Take It Down and another of his classics Praise Me Now. While compiling these notes and preparing the release of the single for distribution, we received the terrible news of his sudden passing at just 44 years old. We are completely shocked by this news and we plan to honor him in any case by publishing this EP to which he was very attached.

The word Asapani is part of the artistic vocabulary of Paolo "Batà" Bianconcini, percussionist of the La Scimmia Records collective, founding member of the Circolo Psiconautico and part of the Neapolitan bands Parbleu, Funkin' Machine and Nu Genea. This ancient-sounding term is a creation of the artist, who defines it as a word of nature, but also the (italian) acronym of Listen to the Silence, Listen to the Peace, Listen to the Inner Nothingness. More than a simple term, an exhortation.

The music contained in Asapani was written and produced between 2022 and part of 2023 by Paolo “Batà” Bianconcini who together with the Circolo Psiconautico (Paolo Petrella on bass and synth, Pietro Santangelo on wind instruments and Roberto Porzio on synths) and takes shape from observation of time and the infinite possibility we have of blocking its fragments and making them our own and then sharing them in another form. The intent is to transport the listener outside of himself, through sound vibrations, during the span of four long tracks that melt into each other feeling like one singular body of work.

This album spans several genres, but at the same time is unique in its style. Spiritual jazz blended with primitive settings, achieving a sensation of sonic primitivism. The listener is projected into a circle of musicians who, sitting around a fireplace, are transported towards infinity by their internal vibrations.The research starts from the four elements of nature (water, fire, earth and air) and thus uniting and fusing with each other they make us question our existence, our depths.
As Batà himself explains, starting from the four fundamental elements in order to keep the search for the fifth element constant.

A location, Melizzano, on the western slopes of Monte Taburno, where the Batahaus stands, the physical and spiritual home of Batà, a magical place in which the Circolo Psiconautico meets, with the aim of navigating the waves of the unconscious and composing music which, through contamination and experimentation, captures the moods of the moment and projects images and colours from the inside out that speak to everyone. Like a real club, the Psiconauti come together to give each other the chance to explore together, create suggestions and get excited among friends.

Following the success of the 'Tokyo Glow' compilation, Wewantsounds once again teams up with Japanese Tokyo-based DJ Notoya to dig the rich Electric Bird catalogue and come with a versatile selection of sunny Jazz-Funk gems recorded between 1978 and 1987 for the label. A tasty selection featuring Yasuaki Shimizu, Toshiyuki Honda and Mikio Masuda, together with a few American musicians such as Ronnie Foster and Bobby Lyle. Most tracks make their vinyl debut outside of Japan and the album has been designed by Optigram/Manuel Sepulveda and is annotated by DJ Notoya. Audio newly remastered in Tokyo by King Records....

An R&B band formed in Milwaukee, Wisconsin, USA, in 1961. The members were lead vocalist and guitarist Harvey Scales (b. 1941, Arkansas, USA), Monny Smith, Bill Purtie, Rudy Jacobs, Al Vance, Bill Stonewall and Ray Armstead. Superstar James Brown was sweeping the charts in the late 60s with his new kind of hard soul called ‘funk’, and under his influence, Harvey Scales And The Seven Sounds, like numerous other groups at that time, made their presence felt recording new funk sounds. The group’s one hit, ‘Get Down’ (number 32 R&B, 1967), was recorded on Lenny LeCour’s Magic Touch label. The b-side, ‘Love-itis’, was later recorded by the rock group J. Geils Band. After signing with Chess Records, Scales and his group had a regional hit with the LeCour-produced ‘The Yolk’ in 1969. Later, under the aegis of Detroit producer Don Davis, the group recorded for Stax Records with little success. In 1976, for southern soul hit-maker Johnnie Taylor, Scales co-wrote the massive hit ‘Disco Lady’. That success secured Scales a recording contract with Casablanca, with whom the artist released two albums. Scales was still recording in the early 90s.

Following the success of the "Out Of Luck" single, we're wrapping up the Ghia reworks chapter with "The Other Side" - a dynamic 12" vinyl loaded with three contemporary funk tracks and three instrumental cuts.

The release starts off with the title track on which we can hear another collaboration with vocalist Adriano Prestel. The song is built on the foundation of "Message From The Other Side," a synth-funk instrumental from last year's "Don't Stop" LP. Jim Dunloop has skillfully rebuilt the infectious grooves from scratch, and guitarist Lucy Liebe has contributed to the guitar elements. Interestingly, the 1985 original version contained vocals that were preserved on a demo tape. These original lyrics conveyed the idea that everyone should learn to listen to the other side. Adriano picked up this idea and wrote new verses and a new chorus, beautifully transforming the song into a soulful bliss. In today's world, the message remains relevant: without listening, understanding, and compromise, solutions are elusive.
Next up, DJ Friction takes "Out Of Luck" to new heights with a remix infused with electro-funk. The synth bass replaces the original, a punchier kick and a clap snare give it a classic boogie feel. Additional strings on the chorus and an extended build-up complete the transformation, making it a fantastic tune for any DJ set.

Marian Tone returns to remix "The Other Side" in the '85 rework, blending parts of the original song with replayed instruments from the studio sessions. He adds clav sounds and retains the original marimba keys by Ghia's Lutz Boberg. If you are into the 80s vibes, this rework will be your choice.
The flip side features instrumental versions that, even without vocals, are a special treat for all boogie and funk enthusiasts. Last but not least, the release includes the original mixdown of "Out Of Luck" from when the recording was finalized at Ed Longo's Soundrays studio - offering a different take from the instrumental version on the previously issued 45 single.

The 12" is presented in a full-picture sleeve designed by The Raincoatman, also known as label owner DJ Scientist.

Eddie Harris was an American jazz musician, best known for playing tenor saxophone and for introducing the electrically amplified saxophone. During his career he recorded over 50 albums, mixing jazz with funk which resulted in Grammy Award nominations for two of his albums. The 1983 People Get Funny... recording contains the title track "People Get Funny When They Get a Little Money" and "La Carnival", which are sublime examples of his jazz-funk style accompanied by vocals and scatting. "Silver Plated" and the other tracks are more in the jazz-hard-bop style. Featured on the album are drummer Carl Burnett, electric pianist William S. Henderson III and bass-player Larry Gales.

The New Mastersounds have been performing live and making funky organic-sounding records for 25 years. Starting out in Leeds, UK, having initially appealed mainly to old-school DJs and vinyl collectors, they managed to build fanbases across the USA, Japan & Europe.

The album comprises ten original instrumental tunes composed and performed at the keyboard player's studio in the heart of the English Peak District during a rainy week in July 2023. The tracks showcase the earthy essence of the band via its signature vocabulary of uncomplicated funk, soul-jazz, classic R&B and reggae-infused grooves.

In the UK selected tracks from the album will be featured on The Craig Charles Funk & Soul Show on BBC 6Music. An extensive US tour is planned for Spring 2024 in support of this release.

Eddie Roberts - guitar & tambourine

Simon Allen - drums

Pete Shand - bass guitar

Joe Tatton - organ and piano

LA-based DJ duo Guruku is back with their second release. The title track ‘Mesmerized’ has a throwback feel to the likes of The Gap Band, Prince, and D-Train. With a loose format, Rojai’s vocal builds the dubbed-out drums and heavy synth line that rises to an electrifying release with dirty hypnotic pads smothering a delicious bassline. Italy’s Giovanni Damico lays down a heavy bass textured to perfection with tasty vocoders throughout. Daniel T. (Cosmic Kids/DFA) takes rhythmic cues from B’more's Unruly Records while keeping close to his West Coast roots with a G-funk synth line riding high. What It Takes starts with a melodic, percussive Moog line that breaks into a full production of Rhodes, live bass, and early 80s drums. Rojai delivers a heartfelt love letter letting the one know they can stand the test of time. Rayko vs Wvp mix keeps the boogie alive with a cascading bass line for the dancefloor.


RIYL: Star Creature, Dam Funk, Ray Mang, and The Gap Band.

One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces...,

Dub Store Records is the Ska, Rocksteady, Reggae, Roots and Dancehall reissue label run by the eponymous Tokyo based record store. The label aims at accurately covering the 50-plus years of Jamaican music, and pass on many rare and magnificent recordings, which are non-commercial and highly artistic. Carefully handing down the tradition of reggae music, Dub Store Records has so far issued recordings from labels and artists such as Studio One, Federal Records (Federal, Kentone, Merritone), Bunny Wailer's Solomonic, Familyman's Fam's, Jammys, King Tubby's Firehouse, Derrick Harriott, Kiddus I, Redman International, BMN and much more to come.

SOYUZ (СОЮЗ) stole our hearts back in 2022 when we released their album Force Of The Wind to critical acclaim. Here we proudly present the predecessor to that LP, the band’s sophomore long player from 2019 that was previously only available digitally. It captures a pivotal evolving period in the band's career, the recordings giving a snapshot of what would become their sound on Force Of The Wind, yet with echoes of avant-psychedelic-pop footprints from yester years.

Produced at a time when band leader Alex Chumak had moved from Minsk to Kyiv, torn between the need to try something new and the homesickness it brought about. Travelling back to Minsk almost weekly, Alex joined fellow band members Mikita Arlou and Stanislav Murashko to lay down II at Studio 42. The album captures these transient feelings, contextualised through the broad scope of influences the band were nourished by. From MPB to Ethio-Jazz and the Italian library soundtracks of Piero Piccioni and Piero Umiliani, the album shines with touches of joy from across the globe.

The opening track 'Verocai' is a tribute to the Brazilian maestro and 'Mirouze', whilst being named after a French favourite of the band, Jean-Pierre Mirouze, pays clear homage to Milton Nascimento and Lô Borges. A ghostly sample and invisible connection to music made miles away in a different era that has influenced and become part of the band’s lives. This is further reinforced in the album's enchanting closer, the aptly titled 'Nascimento', another nod to the great Brazilian musician and singer.

The beginnings of the cinematic, soul-laden jazz SOYUZ are now known for, are on display across the likes of ‘Lyric’ and 'Motive I'. The latter an orchestrated jazz instrumental with sensuous string sections, all of which were recorded on the warmth of a Studer reel-to-reel and waltzing Rhodes keys.

SOYUZ’s wide-ranging palate is further demonstrated in tracks like ‘Business Partners’ with its Krauty, kosmische, new wave production featuring Inturist, and the oh-too-short Anatolian-influenced interlude 'Corrida'. Elsewhere, 'Tezeta' and ‘ES-2 Jazz’ hint at the psychedelic haze of soul-funk, with the former featuring verses from Serbian rapper Petar Martic.

For this new physical and digital release, the whole album was mixed from scratch by Ryan Power before Joker worked his magic on the remaster. More excellence is to come from SOYUZ, but in the meantime, we are thrilled to present this essential recording from the band’s foundational years, mixed to a level that does it the justice it deserves.

E. LIVE returns to STAR CREATURE with yet another Boogie Blast Off, this time of the Jazz-Funk variety, marking his third full-length release with the esteemed Chicago label. The much-anticipated album is set to make seismic waves in 2024. With a nu-school approach leaning towards the jazzier realms of disco, E. LIVE masterfully maintains an unwavering dance floor allure. The album is a brilliant fusion of accessible and sophisticated sounds, creating an enchanting sonic landscape that seamlessly bridges disco and jazz elements. Genius Level production for a solo studio act. Highly recommended for fans of musical luminaries such as ROY AYERS, PATRICE RUSHEN, KHRUANGBIN, FKJ, and TORO Y MOI, etc...8 tracks & full picture sleeve.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production.”

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”

Funkrockfolk mit animierenden Grooves aus Berlin Bis zur Pandemie konnte sich Holler my Dear über jede Menge Resonanz und internationale Bühnenerfolge freuen. Die drei Alben des weit gereisten Berliner Sextetts erhielten auch außerhalb Deutschlands viel Lob. Bei Festivals (u.a. X-Jazz, Reeperbahn, Jazz Open Stuttgart, Jazz & the City Salzburg, Mexico City, Penang, Kairo, Teheran) und in Clubs feierte die Band rauschende Feste. Im Juni 2023 veröffentlichte Holler my Dear die EP Aftermath, deren Songs u.a. mit der (Post)-Coronastimmung abrechnen und die eine elektronischere Soundästhetik ausloten. Nun schlägt Holler my Dear das nächste Kapitel auf. Die Songsammlung An Only Me Is A Lonely You präsentiert einerseits eine Rückbesinnung auf die akustische Grandezza von jazziger Trompete und Akkordeon, neben Winklers extrem variablem Gesang von jeher Markenzeichen der Band. Andererseits wagt das Sextett neuerdings gewitzte Flirts mit rauem Funk, Soul und Rock im Stil der frühen Siebziger oder auch im Geist des unvergessenen Prince. Verglichen mit dem Vorgänger wirkt die neue Produktion etwas heller, teils geradezu uplifting. Dafür sorgen stärkere Grooves von Schlagzeug und E-Bass, prägnante Riffs und eruptive Instrumental-Einsätze sowie mehr Humor in musikalischen und textlichen Details. So unmittelbar wie nie wird die immer wieder hochgelobte Dynamik und Bühnenenergie von Holler my Dear auf Tonträger eingefangen. Die absichtsvoll "schmutzige" Ästhetik sei einerseits aus der Stilistik der Songs erwachsen, sagt Laura Winkler. Andererseits hat Produzent Dennis Rux (Angels Of Libra, Hamburg Spinners, Tetrao Urogallus) einen starken Anteil daran. Der Hamburger ist ausgewiesener Spezialist für hochkarätiges Vintage-Studioequipment, von Mikrophonen über Vorverstärker bis zu Band-Echos und anderen Effektgeräten, die er schon seit Dekaden sammelt. Während der Aufnahmen befand sich die Band größtenteils im selben Raum, was den bekannten Live-Esprit entfachte. Auf nachträgliche Korrekturen oder gar Overdubs wurde weitgehend verzichtet, das verstärkt den direkten Eindruck. Dazu passend erscheint Winklers gravitätische Stimme wendiger denn je. Neben eingängigen und fast hymnischen Melodien setzt sie verstärkt auf rhythmische Phrasierungen bis hin zu Rap-ähnlichen Passagen mit perkussivem Charakter.

Everybody's still talking about the good ol' days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of Shanghai'd Soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and Earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation.

Everybody's still talking about the good ol' days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of Shanghai'd Soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and Earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation.