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Keep Your Mind Alive is the LPH debut for Rydm Sectors, an Italian duo that bridges classic New York house and UK garage and lightens the resultant hybrid with well-placed sparkly synth work, jazzy drum fills, swanky piano licks. Nightclub music that’s been genetically modified to be just as functional and fun there as it is laying on a breezy beach, soft white sand your pillow, crashing high-tide waves reminder of the nature around you.

Exactly a year on from 'Travel Light', we release the final single from Children of Zeus' debut album. A dinked 7" single, containing one of the stand-out tracks from the album, 'Hard Work', and a re-vocalled Lover's Rock version of 'The Heart Beat' (a demo version of which appeared on 'The Winter Tape' from Christmas 2018).

'Hard Work' is a term than can easily summarise the past twelve months in the life of Tyler Daley and Konny Kon. They've been busily touring Australia, New Zealand, South Africa, Europe and the UK twice in that time, as well as rocking shows at countless festivals across the continent.

'Travel Light' was named "Album of the Year" by Complex Magazine, BBC 6 Music's Huey Morgan and Rinse FM's Jyoty, as well as taking 2nd place at the Worldwide Awards (for which their label First Word was named "Label of the Year") and numerous high-placing's from Fact, Mixmag, The Vinyl Factory, Juno, Bandcamp, Mi-Soul, Wordplay & Piccadilly Records, amongst numerous other notable selectors, blogs, tastemakers and musicians, with fans far & wide from Radio 1's Benji B to Chase & Status, Jazzy Jeff to Lily Allen, Stormzy to Goldie.

The depth of styles & genres included on 'Travel Light' confirmed that Tyler & Konny are not easy to put in a box. Their initial inspirations of Manchester pirate radio in the 80's/90's all make up to form the sonic tapestry of hip hop, soul, r&b, broken beat, jungle and, in this instance, reggae.

One of the album's biggest surprises was this now-anthemic track, 'Hard Work', which sees Tyler Daley effortlessly ride a one-drop riddim drenched in positivity, and is a highlight in their live sets, as anyone who's witnessed will testament to. Meanwhile, the flip-side transforms the quiet storm vibe of 'The Heart Beat' into a heavy, heavy dubwise track, creating an essential accompaniment and fitting sequel to the original lick.

Pressed on a limited edition rustic JA-style dinked 7", this one is, of course, essential for any discerning collector, fan and DJ. Released on First Word Records, July 12th 2019.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

Following the mighty rendition of "I Want You", Soul Sugar (a.k.a. Guillaume 'Gee'
Metenier) is back with another massive Soul-Reggae version, this time taking on Luther
Vandross' "Never Too Much".
Fearlessly taking on such timeless classics is serious business, and Leo Carmichael
delivers, once again, with a maximum dosage of finesse and feeling. Seductively delicate
backing vocals from Carl Lee Sharshmidt and Karene Brown keep it as warm and
intimate as one would hope, while Thomas Naim's tasteful guitar licks and Gee's minimal
production allow the song to breathe and flow steadily on its own.
Recorded in Paris, Kingston, Miami and London, the resulting blend of Soul and Reggae
riddims has rarely felt so natural. On the A-side, Gee's "Discomix" dubs a generous dose of
the sultry backing vocals over a minimal, bassy groove that dips, dives and flows on into the
sunset. UK producer Adam Prescott lets loose with an infectious 90's dancehall rerub,
aiming straight for the dancefloor... ladies' choice! Finally rhythm legends Sly & Robbie
drop the BASS with a heavy dancehall treatment, taking it low, letting it ride, while the
vocals float on... Never Too Much!

This Ltd edition vinyl release see’s a 50 track digital album whittled down to an 8 track sampler encompassing what label bosses Vinyl Junkie and Rachael E.C have determined to be the tracks that represent them best. The selection is predominantly on the junglist tip with a sprinkling of Drum & Bass here and there, which is basically what their label Ghetto Dub is all about.

The proceedings are kicked off by Birmingham born but Bristol based jungle overlord, the man they call Aries, who comes in with a real deep and bass heavy roller called Pre-Rolled, guaranteed to get everyone on their feet and feelin’ the vibes. This is followed by a rising star of the UK jungle scene; Java, who brings in the amens with a ragga style vocal lick for his track Screwface, which has been slaying dancefloors on dub for the last couple of months. Another artist that is really making a BIG name for himself lately is Veak. He comes in HARD with his first offering Lawd A Mercy which is a definite pull up track with a filthy bassline that will nail your head to the dancefloor. X-E-Dos concludes the first vinyl with Feel For Me which is a hard hitting but atmospheric drum fuelled workout, keeping the vibes rolling and maintaining the energy levels perfectly.

Enter the second vinyl and Veak is back, this time teaming up with another UK jungle don; Kumarachi. The combination of these two production masterminds has manifested something quite special in this awesome track Chrome Siren. Punchy in your face amens laced with more killer bass riffs and a mesmerising female vocal make this a definite for the front of your box. Sypmtom steps up next and adds that dark techy vibe like only he knows how; Come Mash Up maintains the jungle vibe but goes on a journey into the realms of drum & bass. Galvatrons track, Buss Up Shot is pure jungle, no doubt about that. Chopped up amens and a deep rumbling bassline are complemented with a beautifully melodic piano section. Last but by no means least, the man like SR takes the limelight with another wicked amen workout. Special Ops VIP gives a nod to the mid 90’s for sure… Wicked oldskool vibes and a sure fire hit with all the junglists that remember those times.

Longstanding FUSE resident Rich NxT combines with fellow London favourite East End Dubs this June to release their debut collaborative EP ‘The Four Slip’, featuring two bubbling, heady cuts.

As one of FUSE’s original residents, Rich NxT’s evolution alongside the London brand has seen him become one of the scene’s most respected DJs and producers, releasing a slew of material via their renowned in-house imprints as well as via the likes of Tamango, Elision, Vatos Locos and his own NxT Records. This pairing sees him up alongside one of the scene’s most prolific and consistent producers, East End Dubs, who arrives fresh from a string of EPs via his own self-titled and anonymous imprints, and material on Eastenderz, Infuse and Moxy Musik to offer up the two-track ‘The Four Slip’ EP, marking the pairs debut collaboration, which was over a year in the making, whilst offering a concentric overlap between their own unique sounds to tell another fresh story for the 34th release of the rapidly maturing imprint.

The A side sees the paring combine to offer up ‘E3’ - a slinking and swing-fuelled lead cut that merges woozy, spacey melodies, chunky kicks and warping electronics, before employing crunchy percussion licks, rich chords and a glitchy, low-slung core groove throughout ‘Bubbles’ on the flip to close the package in fine fashion.

Fresh original, his one’s a spicy 122 bpm groover as that peaks with Bread N Butta laying down some
seriously smooth piano licks.
The groove comes out of nowhere, and ends up being the funkiest rolling deep house track you have always
wanted on 7 inch vinyl.
Calgary’s Bread N Butta, aka, Enoque Carrancho, Enno Karr and One Less Of Them is another extremely talented artist
to emerge from the city that seriously loves House music. Bread N Butta is a moniker intending to express a more
soulful, playful side of Enoque's musicality.

Counterweight’s first release of 2019 comes by the hands of the Italian duo RVDE and includes a remix by the Spanish gringo Gonzo MDF.

Once again, the RVDE guys show what they can do best, Techno for the dancefloor full of energy with no mercy. The A-side with “Roll & Lick” and “Carousel Rampage” is highly influenced by 90’s rave sound and will bring your mind right onto the dancefloor of your favorite club or warehouse. On the B-Side, “XXX” maintains the rave flavour but this time the approach is deeper and more hypnotic. Finally XXX gets a re-built by Gonzo MDF who adds his characteristic aggressive & fast paced sound.

So, yes, you will hear it at any good warehouse party this year… and don’t forget to call them Rude.

Copenhagen’s Echocord welcomes YWF onto its roster this June with the ‘Replaced’ EP, backed with remixes from Berlin’s Freund Der Familie. YWF is a Copenhagen based Techno producer and DJ, most notably known for his output on the Freund Der Familie imprint, the founders of which step in to remix his work here, and Baum Records, the label run by Resoe, a good friend of Echocord label boss Kenneth Christiansen and with whom he forms the group Pattern Repeat. It seems it was only a matter of time before YWF became a part of the family. Title-cut ‘Replaced’ opens the package via a sturdy rhythmic foundation, wandering synth licks and winding modulations before ‘All Is Temporary’ embraces a cinematic aesthetic, edging in elongated sub drones, emotive strings and delayed percussive hits. Freund Der Familie take control on the latter half of the package, delivering two interpreations of ‘Cutoff’, first up is ‘Fdf’s Reshape’, employing an airy asmtopheric feel amongst fluttering low-end and dustry drums while the ‘Days Of Doom Remix’, as the name would suggest takes a darker approach, laying focus on menacing bass, expansive delays and menacing voices alongside heartbeat like pulses of low-end drums.

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

For the 8th installment on Lossless Music's Dope Plates sub-label sees label boss Soul Intent drop 3 rave and jungle infused gems.

With Jungle making a come back Soul Intent thought it was important for the kids to not forget about rave and hardcore so "The Old Skool Is So Kool" was born. Five minutes of breakbeat hardcore and rave nostalgia... so much so when playing it out in clubs Soul Intent regularly gets ravers asking "which Ratpack tune is this again?".

"Lick Down" is an out'n'out classic amen and 808 bass roller (and we mean roller!) while "Got The Music" blends old and old vibes and production techniques resulting in a very fresh and unique sounding track.

Spencer Parker invites Swedish artist Billie Jo to Work Them Records with five driving techno cuts entitled 'The Ravenous' EP featuring a remix from Me Me Me boss Man Power.

Hailing from Stockholm, Billie Jo is a founding member of the .WAV collective and resident DJ at Gothenburg's Rottweiler when not performing at clubs like Tresor. She now joins Work Them Records, bringing an array of robust productions with her.

With its pounding drums and ghostly vocals, 'Erroneous' quickly sets the tone of the release, leading into 'Saturn' with its glassy textures and echoing effects. 'Ravenous' then takes us into murkier territories, generating a duskier aesthetic with its twisted sounds before British producer Man Power provides a vigorous reinterpretation under his newly minted MPX moniker, which focuses on raw club tracks, featuring hard stabs and acid licks.

With its saw-like lead and trippy atmospherics, 'Dir Vsseu' sounds like being pulled through a vortex, making way for the powerful 'Planet 9' which concludes the package with metallic elements and subtle pads.

Endlessly sampled across the board, for those dreamy guitar licks, killer Rhodes keys and luscious strings, Goody Goody ‘It Looks Like Love / Super Jock’ is a 1978 masterpiece of disco gold. Original copies of the Atlantic Promo 12” sell for upwards of £65 so it’s about time a remastered, officially reissue landed.

Produced by Vince Montana of MFSB and The Salsoul Orchestra fame, ‘It Looks Like Love’ was a Larry Levan / Paradise Garage classic and still commands dancefloors the world over. Flowing flutes, sultry vocals and xylophone twinkles open up proceedings, as those iconic, funk-flavoured staccato guitars and rising strings step up to the plate. Combined they produce a glistening groove that captures the feel-good factor of NYC’s disco apogee.

Delectable disco, fuelled by an undeniable funk that continues to be harnessed, chopped and sampled by some of house music’s biggest players from Nick Holder and Armando, to Tom Trago and Glenn Underground.

On the B side, soul-searching cosmic fluctuations via ‘Super Jock’, with interplanetary vocal refrains stretching out above a full-bodied bass, tight drumming and spacey Rhodes. Montana’s world class arrangement sees bongo-led percussive interludes and dancing keys solos take listeners to a mesmerising galaxy, far far away.

A double dose of that good stuff!

Echocord sub-label Echo Echo returns with its first release of 2019 this May, coming courtesy of son.sine with his ‘Variable States’ EP. Leyton Glen aka son.sine is a relatively new name to most having only released a handlful of EP’s to date, initially in 2000 he released ‘Upekah’ via the Nurture imprint before Delsin recognized its timeless quality and re-issued it in 2013, a testament to Glen’s sole work. Here though we see Echo Echo mark a return for son.sine with a new EP of original material, his first in four years. The thirteen minute ‘Uncertainty’ opens, driven by hazy atmospherics, pulsing acid bass tones and murky sub bass while glitched out percussion subtly carries the cinematic groove. ‘Evident Topology’ follows, taking a more robust approach with jittery low-end chops, expansive dub chords and an amalgamation of emotive strings and jazzy bass licks ebbing and flowing within. ‘Three Linear Decay’ then rounds out the package via skippy organic drums, ethereal pad swells and metallic bleeps.

Mysterious talent Clouds Of Kouros returns to their self-titled imprint to deliver the second EP on the
label this March, with three fresh cuts making up their 'Houghton Time' EP.

The enigmatic Clouds Of Kouros guise first surfaced in November of 2018, with the debut 'Reason's Why' EP picking up a slew of support from Secretsundaze through to Laurent Garnier and more.

Heavily influenced by the early UK rave scene, the project looks set to highlight key early inspirations from within the electronic sphere whilst keeping the focus solely on the music and not the artist behind the project across with each release on the imprint. The latest installment, the 'Houghton Time' EP, was written out of frustration after missing last year's edition of the festival through a last-minute transportation cancellation and in-turn returning to the studio to channel this frustration into a handful new productions. The result is an impressive fresh three tracker that takes cues from breaks through to deep house and beyond set for release on vinyl only this March.

Title cut 'Houghton Time' opens the package with authority as slick breakbeat arrangements combine with menacing basslines and infectious vocal hooks, before 'Diego's Groove' takes things deeper as dubby chords and bright melodies work in tandem. Last up, 'Hide2' completes the EP in style as the focus shifted towards punchy drum licks, resonant stabs and eerie melodies throughout.

Lurking in the shadows of the underground since 2013, subtly shifting trends and creating new bass cultures with a firmly understated frame of mind, Itinerant Dubs resurface with three new dance experiments that cross the boundaries and join the dots with brutal simplicity of thought. No tricks, cheap thrills or passing tastes; this is pure UK heat coming straight from the machines to your needle. The opener, "Dub This", lashes out heavy 808 percussion amid a blur of sparse, jagged licks of acid, while "Human Emulation" uses electro science as its platform for dancehall annihilation, leaving "Three Four" to linger more placidly in a hazy, mid-air smoke that we've come to recognise as the apex Itinerant Dubs sound. Murderous and iconic. The shadows resurface.

Detroit's resident producer, Appian, joins ANMA with three originals that twist and grind through break and straight 4/4 beat grooves. A lot of the sound presented sets ground in the rough and rugged but minimalist feel with focus on rhythms that are sometimes complex and sometimes more reliant on the heavier dance floor cuts while simultaneously meshing new ideas with references to electronica classics that paved the way for today.

The alternative take on the flip is provided by Italian producer Sofa Talk, no stranger to the label seeing his own release debut EP hitting the shops in 2017, with more focus on 4/4 beat with layers upon layers of improvised synth and atmospheric licks.

Classic jazz/funk/disco cut that became an instant anthem on all discerning dance floorswhen it was originally released, and for decades to follow. Includes the previously commercially unreleased Sax Mix of 'Journey', cut loud at 45rpm.

Championed by DJs including Francois Kevorkian, David Mancuso, Larry Levan and more, it's a record that, alongside tracks like Atmosfear's 'Dancing In Outer Space', become synonymous with the UK influence on US club music at the time.A sound that many forward thinking DJs in New York, Chicago etc. embraced to stand out from the crowd and bring depth to the dance floor.

Driving jazz/funk, legato bass, grooving beats, subtle keys, dubbed out percussion and guitar licks that bring you to a simple but infectious piano melody.

A collaboration between Andy Sodjka and Jerry Pike, mastered by Herb Powers.

Crossing boss AVION delivers the label's debut album with ten atmospheric Techno cuts including a collaboration alongside Ninja Tune favourite Emika.

Berlin based producer AVION's structured techno has found home on respected labels like Index Marcel Fengler, District 66, Stress Research and Pure. However, his own label Crossing - launched in 2013 - has hosted the majority of his work when not releasing music by Pfirter, Doka, The Automatic Message and Milton Bradley (as Doomsday Device). It only makes sense then that AVION's debut longplayer sees him return to his imprint.

Opening with the ominous heartbeat and metallic drones of 'New Day', AVION's album quickly takes things into a murky analog direction with crackling 'Errata' and its twisted effects before 'Stones' follows with its offbeat drums as sanguine chords begin to shine through. Syncopated percussion follows with 'Adamant' as twisted synths continually sweep, leading into 'Untrod' and its scintillating chimes and mesmerising textures.
Squelchy acid licks join otherworldly pads in 'Scan' until the dystopian 'Evasion' builds in tension as lo-fi drums join oscillating bass. Pitter-patter drums and pulsating stabs are next in 'Firebox', making way for the harrowing 'Street Lights' that utilizes the ethereal voice of Emika. Finally, 'Nebul' provides a shadowy finale with a crystalline aesthetic complete with a cacophony of intricate details.

Planet E present the Michele Chiavarini and DJ Steve Crawford remixes of 'Just Like Muzik' and 'The Sabath' taken from Terrence Parker's 2017 album 'GOD Loves Detroit'. The three-track remix EP is due for release March 8th. Handpicked by Terrence Parker himself, both remixers offer fresh takes on two of the standout tracks of the original LP. For the first and last track of the EP Michele Chiavarini reworks 'Just Like Muzik', with a bass lick which dances in and out of shuffling hats, channelling the high energy of the original house patterns and stabs into something different. Soulful pad progressions merge with Merachka's original vocal, before energetic strings and vibraphone solo take over, carrying the listener along. DJ Steve Crawford's remix of 'The Sabath' sees him transpose the arpeggiated synth rhythm and pads of the original into a fresh grooving 4/4 affair. Congas and punching kicks meet with harmonious string melody and slapped bass, creating a head-nodding reimagining of the master.

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.

Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

Hungarian producer Giash has been on Metroline Limited radar for quite some time. It took a while to get him on board but the wait is finally over: the misteriously titled Sen_d_Ingo Ep is here and it is super-tasty!

An expert crafter of minimal beats and hypnothic grooves, Giash career has spanned over 10 years with his productions being released on wax through seminal labels such as Archipel, Plaisir, Why So Series and many more.

The opening track, Brunc_hc-_h, give us the first shot of underscores and a high dosage of machine funk minimalism. It's a full on/slow-mo industrial churning groover with sci-fi licks and lush pads work!

The second cut on the A side it's the beatiful Imagin__ary and it's deep minimalism at the highest level. It's a great mixture of new and old as far as reduced jacking grooves are concerned.
It could have easily fitted in the late 90's Perlon/Playhouse era but it surely sounds as current, fresh and forward thinking now.

Side B is solely occupied by the tripped out grooves of Sen_d_ingo. Close your eyes, imagine yuorself in an East London basement at the darkest of after-parties, this track is the perfect fit for that particular moment.
Over 13 minutes of dark and hypnotic beauty, the track is crunchy and punchy with a wigglesome broken rhythm, some subtle synth variations and plenty of dark and deep atmoshperics!

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

The Moments' On Top is a perfect example of symphonic soul. Amongst true heads, this is considered the most valuable of all their albums; an original copy of this LP, if you can find one, starts at around $75. Alongside contemporaneous acts from the early 70s - The Chi-lites, The Stylistics, The Delfonics, The Futures, Blue Magic and The Main Ingredient - The Moments exuded all that was compelling about deep, harmony-drenched, string-laden soul. The standout here is undoubtedly 'To You with Love", a floating, tender ballad sung by Harry Ray that features the group's patented handclap-tambourine combo, sweetly repetitive strings, serene guitar and gentle piano. It was famously sampled by J Dilla for 'Last Donut Of The Night' - the gut-wrenching finale to his seminal Donuts. Concentrating solely on its sampled history would do The Moments a huge disservice, but its crucial appearance at the climax of Donuts directed fresh generations of pre-disposed soul fans to the absolute canon. Judged entirely on its merit, it's one of the most heart-breaking songs of any decade and worth the price of admission alone. It's the sweetest, most goose-bump inducing 3 minutes of aural bliss you're ever likely to be exposed to. If that wasn't enough, On Top spawned two minor R&B hits: 'All I Have' and 'Lucky Me", each featuring Billy Brown's ice-melting falsetto. Opener 'All I Have' is a sumptuous introduction to the album. With melancholic, understated guitar licks, twinkling keys and heartbeat drums, it's a gem.

A brand new tune in a collaboration style between two of the UK's most formidable dub / reggae labels.
* Featuring Ojah from Alchemy Dubs and Liam from Partial Records, with the former on production and mixing duties and the latter laying down some tasteful guitar licks.
* `Forward' is an instrumental that has one toe in the 90's UK dub style but has its footprint firmly in the present time.
* Backed with a compulsory dub mix.

The Silver Rider serves up his first full EP for the Whiskey Disco/Lovedancing family and it's as smooth as you would expect.

Butter smooth filtered disco guitar licks, superbly low slung bass sitting snug alongside delayed vocals and chords, all wrapped in crisp drum machine beats.

Modern disco house with a touch of class you'd expect from The Silver Rider.

Here we see San Proper and The Mole make a welcome return to the imprint following solo EP's, this time they join forces with Hreno for a three track EP from the powerhouse trio.
Leading on the package is 'Friendly Tears' which features yet another leading figure in the house scene, Dekmantel regular Tom Trago, as you'd expect from such an impressive array of artists we're treated so soul drenched house driven by swinging organic drums, infectious funk licks and hooky synth lines before the 'Chunkless Mix' strips things back a little, laying focus solely on the 80's tinged synth work, delayed vocal murmurs and
minimalistic percussion.'On The Floor' then rounds out the package, retaining a similar aesthetic with choppy guitar melodies, penetrating bass stabs, crunchy rhythms and resonant arpeggio synths ebbing and flowing dynamically throughout.

2018 was the hottest summer on record...so let's see if we can cool things down while still keeping it warm all over (and over). Enter Kool Customer: a new collab from LA's beatsmith B.Bravo and the Bay's croon daddy Rojai, coming out September 21 on Bastard Jazz. The vibe: think West Coast Boogie Funk A la Dam-Funk, thrown in Styrofoam cup with some 80s synth steez, then escorted to the strip club (at 3AM) dressed head to toe in a white tux lined with gold chains.

The LP's kick-off "Play" is an ode to bed springs, as is the grand finale "Tonight's the Night"— but what happens in between the sheets Prepare yourself for the smooth basslines and raspy bars of "Sweet Tea," the creamy licks and buttery synths of "Pure Delight," and the heads down r&b of "Rain on My Window." You can also envision yourself cruising in a low-rider when throwing on the breezy "Blackberry (Somebody Told Me)," or surfing (slash exhaling) a cloud above the city on the woozy "Nice Touch." Expertly produced beats are nestled up to warm vocals and crafty lyricism about life and love and lust in 2018 a plenty here.


Metaphors aside, the debut from Kool Customer finds two talented musicians doing what they do best: chilling you out while making you move, in perfect unison. Also, keep an eye out for the super-special deluxe pack, that might just come in handy when you need it most. Ooh La La.

Coasting into the nebula from parts unknown, Admiral takes the helm with a debut LP release coming on Panoram's Wandering Eye Imprint. Ommitting rhodes licks, cosmic lunar drones and warbled space-funk, it exists in an ameobic state between the past, future and present, distilling down ideas of genres and musical innovation once played in clubs across the 9th planet. Alien terms such as "jazz", "brazillian music", "boogie and "left-field pop" could be said to grace it's bows - past ideas and innovations that would be eventually lost to glacial shifts, pacific waste dumps and rise of industrialised states.

Coming 14th October, it's the last ride out, with the final destination The tumescent aural seascape of the inner mind

Batida is to release his new album "Dois" via Soundway Records.
Strands of Afro-House, Kuduro, Benga, Semba, samples from old Angolan movies and Afrobeat tracks, African MCs and musicians from all over the world are all deftly mixed together by Pedro Coquenão.
Inspired by the multicultural hotbed of his home city of Lisbon and trips to Nairobi and Luanda, 'Dois' was predominately produced in his own garage-studio over a two-year period.
In 2012 Batida's explosive self-titled debut came out on Soundway Records. Mixing the syncopated rhythms of Kuduro with elements of 1970s Semba and Congolese-influenced guitar licks, Pedro Coquenão won fans for an album that "demanded movement" (The Line of Best Fit) and "gave a view of the old and new, the West and Africa." (The Guardian)
Much of the remix and sampling spirit from the first record remains but 'Dois' also features live instrumentation along with a host of different guests.
English, Portuguese, Quimbundo and Zulu languages all feature on 'Luxo' with Spoek Mathambo (South Africa) & his crew contributing the lyrics together with Angolan MC Sacerdote and a guitar riff by Duncan Lloyd (Maximo Park). On 'Céu' Coquenão pushes things in a deeper direction, dis-assembling and reforming elements of the Francois & The Atlas Mountains studio sessions of the track 'Les Plus Beaux' .
His widely acclaimed live show, featuring dancers, MC's, visuals and live electronics has seen him perform at Africa Express and on the Ten Cities project, live on the Boiler Room and all across Europe at some of the biggest festivals.

Flevans returns with a killer 45 for the funky dancefloor! Leading the way is 'Who's Got Me' - an up tempo disco/boogie cut with more slap bass than a clone army of Larry Grahams... It's a tasty dancefloor number with a BIG top line from none other than Laura Vane (MJ Cole, Gnarls Barkley, Laura Vane and the Vipertones) who absolutely owns the vocal duties as anyone who is familiar with her work would expect. Oooh Weee!

Over on the other side we have more classic-sounding Flevans material with the party starting funk breaks of 'Take Your Money'. His signature jazzy keyboard and guitar licks converse with cheeky vocal samples all flying in and out of this slick production in a delightful fashion. It's all about the beats on this one - it's a guaranteed foot mover!

Ltd Edition!

Battle Lines Ist Das Zweite Album Von Bob Moses. Es Folgt Dem Debütalbum "days Gone By" Das Ende 2015 Veröffentlicht Wurde Und Zu Einem Auftritt In Der Ellen Degeneres Show, Zwei Nominierungen Bei Den Junos Und Den Grammys (und Einem Grammy-gewinn) Und Einem Top 15 Us Alternative Radio-hit Mit Der Single "tearing Me Up" Führte. Ineinandergreifende Gitarren-licks, Dancefloor-ambiente Mit Lyrischer Tiefe Und Klassischem Songwriting, Der Sound Von Tom Howie Und Jimmy Vallance Spricht Clubbesucher Und Rockmusik-fans Gleichermaßen An. Das Neue Album "battle Lines" Baut Natürlich Auf Dem Vorgänger Auf, Verstärkt Aber Den Groove Und Die Unmittelbaren Chöre, Um Eine Platte Mit Zukünftigen Hymnen Zu Liefern.

Battle Lines Wurde Von Bob Moses In Los Angeles Geschrieben Und Aufgenommen Und Von Lars Stalfors (health, Local Natives, Cold War Kids) Koproduziert.

- Keyfacts: Bunt Marmorierte Heavyweight Doppel-lp In Gatefold Sleeve Mit Mp3-downloadcode

The Allergies are back with another corking new single - Dance Now is a super-sweet slice of sista funk that packs the sass to shake your ass. Honey Larochelle just wants to dance now and that's what she's gonna do with The Allergies providing the jams! Throw in some killer sax licks from brass man extraordinaire, Mr Woodnote, and it's almost impossible not to get down to this stylish selection of delectable grooves.

These guys are becoming well known for their sought-after double-header 45 records which have a knack of quickly becoming collector's items, and it's easy to see why when they pack out their single releases with quality cuts like 'Fade Away (feat. Andy Cooper)'.

It's another classic fast rap attack from the Long Beach-based MC of Ugly Duckling fame, as he spits rhymes over the 60's inspired samples and fat beats. So, something here for both the dancers and the hip hop heads in one neat little package.

Sugardaddy are a UK electronic music duo formed in 2006 and is the musical brainchild of Tom Findlay (one half of Groove Armada) and singer song writer Tim Hutton (Hybrid, Groove Armada, Way Out West).

Hypnotise" has an altogether late 80's heavy, low slung, boogie vibe, caressed with beautifully haunting yet soulful vocals.

Greg Wilson remixes an extended rework, holding the vibe of the original and effortlessly extending certain aspects of the groove, creating a 9 minute dancefloor monster!

Situation are next up with a late night, deep house dub interpretation which builds to a discoesque guitar licked, infectious, yet hypnotic bombshell.

BitterSuite finish the release with a chunky funk fuelled version, full of slap bass and a bucketful of soaring, atmospheric synths, cleverly weaving those wonderful vocals and building to an electro jazz funk masterpiece.

ALEX is a dark, haunting and brooding synthwave record that sets the night on fire, taking you from darkness all the way to the shining lights of Broadway. With hints of cyberpunk, outrun and other 80's inspired retrowave influences, ALEX has developed a true signature sound that is funky, groovy and totally rocking. X takes you on a futuristic, electronic music trip that's filled with nostalgia and suspense. Artist bio: In the last few years, Ireland's Bart Graft has been releasing healthy amount of great music. His signature sound of pastel coloured and retro inspired synth music is stellar synthwave from the top of the shelve. Along with bigger names in the genre such as Mitch Murder, Waveshaper, The Midnight, and others, he truly is holding up the genre's current producer flame high. Inspired by the works of Talking Heads, Laurie Anderson, Talk Talk, Brian Eno, Pink Floyd, Tear For Fears, The Ward Brothers, Peter Gabriel, Frank Zappa, INXS, and many more... Nostalgic synth stabs accompanied by pulsating guitar licks, energetic drums roll around yet a bunch of track are plain chill. This album is a trip to the rooftops of 80s and 90s culture. From the fast-paced rock track, to ambient vaporwave, the balance is just right as 'Modern Life' cements Bart Graft as a force to be reckoned with.

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

A fresh iteration of the mid-eighties LP (itself a compilation of recordings from the previous five years or so), replacing two tracks — Dancing In The Rain and All Things — with their full 12' versions.This is a deeply personable, expert, limber blend of roots and lovers, kicking off with an exclusive mix of the deadly Mash Down Babylon; dropping classic, lush, spaced-out Wackies dub science to close; and taking in reworkings of Lickshot, Billie Jean and The Righteous Flames' I Was Born To Be Loved, along the route.The moniker 'Chosen Brothers' is Lloyd Barnes' spiritual way of sharing the credit for his solo projects. "Anyone in the studio at the time could be a Chosen Brother,' he says. In this case a full crew includes Sugar Minott and Prince Douglas at the desk; Jah Batta, Milton Henry, Wayne Jarrett and Junior Delahaye all on backing vocals; and such dream-team Bullwackies instrumentalists as Clive Hunt, Jerry Johnson, Fabian Cooke and Ras Menelik.

The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.

And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.

Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.