Hip-Hop Vinyl Neuheiten & Releases - News

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

Neon Finger once again pays tribute to the figure of the great Roger Troutman with the second part of the compilation entitled “We Love You Roger”. Some of the most respected names in the modern funk scene show his love for a key figure, who still remains a huge influence today.

Pittsburgh, PA-native Buscrates returns to Bastard Jazz with a synth-heavy 7" single, "Internal Dialogue." The two-tracker sees the artist take an easy-going approach to his signature funk-filled sound, with a slowed-down tempo and melodic key riffs. "Internal Dialogue" is a mellow boogie joint that combines plenty of Moog, rich ARP strings, and syncopated clavinet chord stabs; "Early Morning" is reminiscent of a late-90s neo-soul beat, with rich Rhodes chords, while a squelching bass line evokes 70s electro-funk. Both tracks are undeniably Buscrates and are sure to have your head bobbing.

Buscrates - aka Orlando Marshall - is a DJ, producer, and multi-instrumentalist based in Pittsburgh. He draws influences largely from 90s hip hop and early-mid 80s electronic funk, which is evident in the boomy, swinging drums and bubbly Minimoog bass lines heard throughout some of his productions. He works locally and sometimes internationally either behind a pair of turntables spinning 45s or working his trusty Roland SP-404SX sampler and various other little portable gadgets at one of his beat sets. Some of his production credits include Phonte & Eric Roberson, Wiz Khalifa, and the late great Mac Miller.

15th Anniversary Reissue on Double LP! I'll Sleep When You're Dead features Trent Reznor, The Mars Volta, Cat Power, Mr. Len of Company Flow, Slug of Atmosphere, MURS, Ikey Owens & more.

BodyMoves returns under the moniker Enver Goyken for his second full length beat tape on London-based label Shapes of Rhythm. Ozan (meaning travelling wise poet in Turkish) is a 21-track exploration of the Turkish side of his heritage, and the alias which is his birth name. Enver's biological dad was from Istanbul, and unfortunately the beat-maker didn't have a relationship with him for most of his life. When he died in 2016, BodyMoves was advised to use his passion for music to explore Turkiye and its culture as part of the grieving process, and to better understand that part of who he is.

"Amongst other things, my biological dad was a musician who first played a part in Turkish rock n roll history, and then as a producer who pioneered modern studio set ups in Turkey, so perhaps I was always going to be obsessed by music myself"

"As a beat maker, my dive into Turkish music inevitably led to identifying samples in the music I was digging into, and although it's been quite a long process, it has resulted in this beat tape project coming together."

Alongside digging into the musical side of Turkiye's culture, it also presented an opportunity to explore thousands of years of history as the bridge between East and West. It's for this reason that the tracklisting reads like a history lesson, referencing famous people and places across time, from archaeological sites and ancient statues to empires, Sultans, armies and tribes of people.

The music on Ozan is loosely framed around hip hop but is unrestricted by tempo. Using his trusty SP404 (championed by people like Ras G and Madlib), and a stack of records and historical references these are raw, raw beats and grooves. The departure from 2017's Cariño beat tape is that here there is a much more global approach to the sound sources. The opener Göbekli Tepe welcomes you in with an introductory stringed instrument fanfare before a whirlwind of polyrhythms move around a swinging, unquantised beat.

Urfa Man quickens the tempo with hand percussion samples and urgent vocal chants and calls, whilst a bassline moves nimbly around joined by a lush Rhodes line. Achaemenid is a lower affair, underpinned by a repetitive dusty piano sample and clacking wooden percussion. In classic BodyMoves style the duration is short but the ideas within it are many. Constantine I is all woozy sub bass and neck-snapping snares, whilst a hypnotic set of hand drums work their way through your brain. Sasanian is a complete assault on the senses with its swirling effects and minimal percussion.

Byzantium is the beat tape's longest and possibly grooviest track, led by a bassline and a reflective keyboard sequence. İznik is another track underpinned by Rhodes and punctuated by an urgent, looped up vocal hook.


Staying true to beat tape tradition Ozan is released on limited white cassette (and digital) with extensive contextual and historic liner notes plus map. Limited to 75 copies.

For Fans Of.. The Daktaris, Karl Hector & The Malcouns, William Onyeabor, Quantic, Budos Band, Antibalas. First Colemine 45 with Jungle Fire since 2017!

Featuring two heavy hitting tracks from their 2020 self-titled LP. Tracks: 1. Slipshot 2. Pico Union

Yet another all killer no filler album from Omar S!

Acid Jazz Records presents Nick Manasseh and David Hill’s
Soul Revivers with their ‘On The Grove’ album.
 An ambitious and passionate collaboration project, it features
musicians spanning seven decades, including Jamaican
legends Ernest Raglin, Ken Boothe, Earl 16 and Devon
Russell, alongside contemporary artists including jazz
trumpeter Ms. Maurice (known for her work with Afro Jazz
ensembles Kokoroko and Nubya Garcia) and vocalist Alexia
Coley.
 The roots of Soul Revivers lie in film. In late 2017, David was
asked to act as music and creative consultant for Idris Elba’s
‘Yardie’. David and Nick’s subsequent productions for the
film provided the spark for what would become the album.
 ‘On The Grove’ was produced at Yard Studios, under the
Westway, below the charred hulk of Grenfell. It is a journey
through the moodier side of reggae, and a progression in the
ever evolving, yet timeless nature of the music. It is also a
tribute to its long connection to West London, and in
particular Ladbroke Grove and Notting Hill, distilled in the
sleeve itself, which features Charlie Phillips’ photograph of
Lepke (founder of Dread Broadcasting Platform) setting up
for the Notting Hill Carnival in the late 1970s.
 Alongside the featured artists, there are stellar performances
throughout, from an extraordinary range of London’s most
talented musicians, completing the next chapter in the
musical mythology of West London reggae.

Soul Revivers continue onwards from their earlier 2022 release ‘On The Grove’ with the hotly anticipated dub version ‘Grove Dub’.

An ambitious, collaborative project, producers David Hill and Nick Manasseh bring together reggae legends, including Ken Boothe and Ernest Ranglin, with the hottest UK musical talent, in what has become the standout reggae project of the year.

The dub version continues in the same vein - another instalment in the rich history of West London reggae and dub.

Although they have been tragically defunct for almost two decades, the influence of Gang Starr is still felt today, almost as heavily as it was back in the 1990s, when DJ Premier and Guru ruled atop boom-bap mountain. As fans know, beyond the duo's direct output, one of their lasting legacies was bringing younger talent to the rap world at large - including Jeru The Damaja, M.O.P., Afu-Ra and Big Shug. One of the more unsung talents that came out of the Gang Starr Foundation was the Brooklyn-based duo Group Home, consisting of MCs Lil Dap and Melachi The Nutcracker. Dap was first showcased on the Gang Starr posse cut I'm The Man,' on 1992's Daily Operation, Melachi appeared on Words From The Nutcracker' from 1993's Hard To Earn. The early Group Home song So Called Friends' was also featured on 1993's now-legendary Gangstarr Foundation Sampler, which also gave the world Jeru's Come Clean.' By 1995, Dap and Melachi had paid their dues and finally got their own full-length: Livin' Proof. And it was everything that Gang Starr and any true school hip-hop fans could have wanted, produced almost entirely by DJ Premier (with two exceptions: Serious Rap Shit' helmed by Guru himself, and 4 Give My Sins,' produced by Jay-Z mentor Jaz-O (aka Big Jazz).
Beyond the album's still-jocked commercial singles - Supa Star,' Livin' Proof' and Suspended In Time' - there are Premier-overseen classics all over, including The Realness,' Inna Citi Life,' and Sacrifice.' In fact, many Gang Starr scholars agree that the beats on Living Proof are in the Top 5 of all Premier-produced albums - no small boast, but certainly hard to disprove. More than two decades later, the album still sounds as strong as it did upon its release. So dust off your turntable and give it another ride, back to the days when boom-bap was real, and ruling.

Producer, author, composer, multi-instrumentalist, dub organizer, label manager and singer with a unique voice, Joe Yorke is a breath of fresh air in the contemporary UK reggae scene. Known by reggae specialists for his work with the Co-operators and recently exposed to a wider audience through his two singles recorded in collaboration with Stand High Patrol, the Northern artist presents his first self-produced album : "Noise And Emptiness".

On Rhythm Steady’s debut LP, Joe Yorke plays the card of authenticity, filled with strong drum and bass sections, grooving silences, striking dub segments and heart touching vocals. Joe Yorke's music evokes the sound of Channel One UK, Channel One JA and Randy's which are among the most iconic studios of English and Jamaican reggae history. He cruises between Kingston, soundsystem dub's England, Wackies's New York and Rhythm And Sound's Berlin. Throughout the eight tracks and three dubs that make up the album, these influences collide to reveal the Rhythm Steady aesthetic : a deep, meditative and solid roots sound dubbed with no compromises.

With two singers and deejay features and lyrics that are part of a “conscious” tradition, the parsimoniously employed vocals leave a vast space for dub. Noise and Emptiness opens a window on the musical universe built by Joe Yorke, celebrating old school roots and dub music, from the studio to the soundsystem. Already played on the radio by great names of reggae such as David Rodigan, Don Letts, Dennis Bovell and Nick Manasseh, “Noise And Emptiness” will awaken the sensitivity of any lover of the genre. Others are already talking about a capital UK Roots / UK Dub release.

"Dar Disku release their fifth installment of middle eastern records flipped for the dancefloor. Teaming up with Milan based duo ‘Eternal Love’ - the desert island diggers and label have reissued a ‘Cairo calypso’ inspired Egyptian rarity known as ‘Zawgy Al Azeez’ along with ‘Yom Fil Kahera’ by 90’s popstar Sally.

Dar Disku was introduced to this hidden gem by fellow MENA crate digger Moataz aka ‘Disco Arabesquo” after his recent trip home to Egypt. Once the duo heard the track, they immediately knew it was destined to be flipped for the dancefloor. After tracking down the original owner of the 90’s Cairo based label ‘Digitec Records’ the duo embarked on a series of online meetings and idea exchanges between Amr (the original composer of both tracks) and Eternal Love. Over a series of weeks, ideas, voice notes and project files were exchanged and by the end of the collaboration … a calypso tinged groover sprung to life.

Embracing the original sonics of 90’s Egypt and combining this with thumping Yamaha DX7 bass, caribbean percussion and detuned snares - a future classic was born. "

The second release on Boogie on the Mainline Records is a strictly limited disco 12" with two songs by German band, Upstairs, from 1980.

Side A features an exceptional track from their highly sough after “It’s Hard To Get In The Showbiz” album called “Get On A Plane”. The song is still totally under the radar in the collector’s scene and serves us with a smooth uptempo Disco Funk groove, a super mellow AOR vibe and a catchy chorus! The exclusive 12" mix has an extended ending to give you more of the final “Copa Cabana” chorus.

The flip side contains the instant classic “You’re Just Yourself”, a track which could already be found on the “Boogie on the Mainline” double vinyl compilation. Giving it more space, power and loudliness on 45 rpm with a new master we hope this perfect soulful tune will get even more spins in this “audiophile” edition.

Simas Okas is trying to create a new species - a combination of natural and synthetic, capable of adapting and thriving in the harshest conditions. Chasing down a magical, mystical, non-defined apparition, like a ghost or a shadow, not necessarily evil, but certainly other-worldly. Much beauty in the swamp, if only you look...

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

2022 Repress

Junior Ross and The Spears are another great Jamaican Roots group that have been nurtured under the guidance of fellow Jamaican, producer and singer Tapper Zukie.Who not only gave the singer and his band their name but recorded, produced and released their records on his own 'Stars' imprint label.

Junior Ross (Clifford Palmer, b.7 Sept 1953, Kingston, Jamaica) grew up alongside his brothers Frankie Jones and Roy 'Soft' Palmer, who in turn had entered the music business alongside future roots singer Price Alla .

Prince Alla had formed a group called 'The Nazarines' with Roy Palmer and Milton Henry, so music was all around Junior Ross and he would soon follow in their footsteps and start recording some of his songs.

This album you have here had its initial release in 1992...We have added to it various dub versions that were b-sides to the singles and extended recordings again produced by Tapper Zukie.

So you have the Junior Ross and the Spear's classis album and its related musical accompaniments all in one place and sounding better than ever...

We hope you enjoy this classic roots set....

"Let's get ready to rumbleee!” O.B.F’s latest album is just around the corner; unleashing their incendiary first single “Chainsaw”. A track born straight from the womb of soundsystem and clash culture. Already rated as a future classic by dubplate connaisseurs, the track sets the tone for what to expect from the most forward thinking dub outfit on their next LP.

Chemistry and the depth of connection formed when two people bond intuitively is the crucial foundation of a successful creative partnership. For Raz Olsher & Afla Sackey, this intimate connection fuels a dynamic and effortless musical relationship that has resulted in a stunning debut LP.

Originally from Tel Aviv, Raz has been based in London for most of his adult life. An awardwinning, multi-platinum producer, his repertoire includes a broad range of solo electronic music productions while also lending his refined ear to composing and producing for other artists including Basement Jaxx, Sam Lee’s Mercury-nominated album and Lamar, among many more. Afla’s Ghanaian heritage permeates into everything he does, invoking the deep ancestral roots of his homeland. His background as a session musician for artists such as Ginger Baker, Sun Ra, Oren Marshall, Osibisa, Ibibio Sound Machine and later, as a dancer, embodies his lineage.

It was inevitable, then, that their connection would lead to a full-length collection of their music. From funk-fueled open ‘Survive’, to its politically astute title track The Cycle condenses Raz & Afla’s magical chemistry into a collection of music that is authentic, compelling and contagious in its enthusiastic energy. You’ll hear ancestral funk on ‘This Cycle’, contemporary highlife with ‘Check Yourself’, cosmic Afro-electronica on ‘Mofanya’ and jaunty grooves on ‘Shall Prevail’, simply pure good vibrations across the eight-track LP, which marks the start of the next phase of Raz & Afla.

This is the twosome expressing themselves to the world; vulnerable, truthful and exposed, it’s a personal statement that will resonate with listeners all over the world. Through the universal language of music they communicate sincerely, with music that has pure intention. Dance wildly, pay close attention to the lyrics and let the spirit of Raz & Afla transport you away from everyday life into another dimension of rhythm and sound…

Groove Dingueries Vol. 1 is one of the first compilations to spread the new sound of jazz and groove that developed since the late 2010’s in France, Belgium and Switzerland.

This new hybrid jazz sound incorporates elements of hip-hop, club music, pop and
electronica.

We’re proud to contribute to this movement already carried by various labels and collectives, radios, cultural venues and festivals (BMM Records, Menace, Sdban Records, Nancy Jazz Pulsations, VOLTA Brussels, Le Grigri, La Petite Halle) and most importantly by the bands and musicians featured on this project.

Ivory Colour 7 Inch Vinyl

A Beautiful Rendition Of R Kelly Song

Limited to 300 physical copies

Our label is back and it’s back with a bang! For the first time ever featuring 6 tracks on one release, we’re delighted to present Azemad’s “Afriki“ EP. Showcasing his broad scope of influences and massive talent for melodic arrangements, the Berlin-based Egyptian producer and vocalist offers a record that is as wide ranging in style as it is evocative and emotionally intelligent.

Festive tribal drums meet moody rap verses, fat bouncy bass lines and dubbed out chords on this wonderful musical melting pot on wax. Whether you’re in a Mahragan or Mawal spirit, Azemad caters for all needs and occasions, last but not least with the friendly help and assistance of J.Wiltshire’s beautiful, aquatic bubbler of a remix on the flip.

AWK004 intends to surface on September 16th 2022, so keep your eyes and ears peeled. Thanks and much luv for the support as always!

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

Los Angeles' Zen 2000 returns with its third release, the third and final chapter in its kick-off string of 7-inches. For this episode, we once again dip into the deep and diverse well of local talent for a single from Tim Jones, a.k.a. Ex.Pontoon.

“Coming Back” is a slinky, off-kilter slow burn, a slinky vocal groove snaking through SoCal G-funk refashioned into a crackly reggae dub wobble. The other side is a delirious and psychedelic trip into the desert, the fiery sun scorching the earth below. Icy guitars and a cavernous arrangement turn the sonic horizon into a shimmering mirage. For the digital bonus, an instrumental version of the B-side, further revealing the nuanced and delicate composition of the piece.

Well we are going back to Dayton yet again for some more of that 1980's Boogie Funk!!!
PLATYPUS IS: Jerry Johnstone (Lead and Rhythm Guitar), Lloyd “Rok” Jones (Bass Guitar and all Bass), Kerry “Bogart” Rutledge (Vocals/Guitar), Arthur “Hakim” Stokes(Vocals/Percussion), and Curtis Sanford (Drums & Percussion) all from Dayton, Ohio!
Special shout out to former PLATYPUS members Dana Meyers Vocals/Autoharp), since those days, Solar Records, Songwriter, Producer for The Whispers, Shalamar and The Spinners, Floyd “Spoon” Weatherspoon (Vocals), since those days performing with “The Motown Sounds Of TOUCH” and Larry Hines (Lead and Rhythm Guitar extraordinaire) Deceased.

PLATYPUS RELEASED 2 albums for Casablanca Records – “Platypus” (1979) and “Cherry” (1980) and recorded more wonderful unreleased music. Super Disco Edits is proud to be releasing previously Unreleased song Side A “I LIKE YOUR LOVIN” Lead vocals Kerry “Bogart” Rutledge, with Guest Vocals Keith Harrison (Of Faze O and Dazz BandFame), Side B “I NEVER KNEW LOVE (Could Feel This Way)” Lead Vocal Arthur“Hakim” Stokes, written By Dana Meyers, along with Belinda Lipscomb and Jeffrey Cooper (Of Midnight Star Fame)

Reginald Omas Mamode IV stands strong in process, sensibility and message; speaking authentically against our collective future and the struggle of the Afro Diaspora people, the enslavement and colonisation of his and many others ancestors. His clear modus operandi focuses on a desire for peace, unity, love and a revised value system to insight a wider societal change. “Music, it's a beautiful, spiritual and powerful thing" says Reginald. "It transcends boundaries and cultures, brings people together, it can instigate the worst and the best in us."
Running through 'Stand Strong' are themes encompassing a distaste for humanity's collective responses to the hierarchical systems that the ruling classes have conjured, past abuses and present economic and physical slavery on our and our children’s future. Throughout, the overall message remains of hope for a better future. There's a subtlety in delivering these ideas and concepts: Afro Mulatto expressions and inspirations of negro spiritual are articulated with clarity through intuitive instrumentalism, raw drums, natty funk bass, soulful fender Rhodes, and Creole percussive patterns. "Through this powerful vessel we call music, my hope is to inspire love, unity, and raise a positive consciousness and vibration.” Reginald Omas Mamode IV’s three solo albums - 2016's s/t debut, 2017's 'Children of Nu' and 2019’s ‘Where We Going’ - received continuing critical success from Mojo (“A brand-new-retro delight”), Mixmag (“Peckham beat brilliance”), Record Collector (“Equal parts D’Angelo to J Dilla”), The Wire (“Soul music turned all the way inward”), DJ Mag ("A masterpiece"), Electronic Sound (“Utterly fantastic”) and Bandcamp (“Equally steeped in hip-hop, funk, soul and jazz”). Specialist radio support has come from BBC 6 Music, Radio 1, NTS, Worldwide FM and he was nominated for ‘Album of the Year’ at Gilles Peterson’s Worldwide Awards 2017. in 2020 he joined with his brother Jeen Bassa as Mama Ode on 'Tales And Patterns Of The Maroons', which Mojo likened to early A Tribe Called Quest.

For Fans Of
J Dilla, Loyle Carner, Wayne Snow, Andrew Ashong, Slum Village, D'angelo, Erykah Badu, J Electronica

Key Points
Reginald Omas Mamode IV's 4th studio album Available on black vinyl and clear vinyl
Running through 'Stand Strong' are themes encompassing a distaste for humanity's collective responses to the hierarchical systems that the ruling classes have conjured, past abuses and present economic and physical slavery on our and our children’s future
Previous albums supported by Mojo, Mixmag, Record Collector, The Wire, DJ Mag, Electronic Sound, BBC 6 Music, Gilles Peterson

Repress incoming...


Soul Flip Edits #14 is surely worth the wait! A different kind of vintage Soul to what you might have come to expect, as the Soul Flip duo deconstruct then lovingly reconstruct The Jam's unreleased but genuinely brilliant early recording(s) of, "A Solid Bond In Your Heart" - a song that was later a hit for The Style Council.

Back to Soul Flip basics on the flip, where The Capitols' more traditionally vintage 1966 R&B stomper "Cool Jerk" gets broken down, stretched out, and freshened up for more modern dance floors. Early support from Craig Charles, The Allergies, Smoove & Hong Kong Ping Pong Club.

For Fans Of... Sunny and the Sunliners, Rene Y Rene, Ray Camacho. The second offering by The Revues continues to explore the intersections between Tejano music, Latin Soul, and funk. This updated take on Rene y Rene’s coveted version of “Mi Corazón Esta Llorando” is tough but with a touch of sweetness. On the flip side we get the instrumental version only with the vocal melody being swapped out for tenor and alto saxes, heightening the Tejano influence and flavor. Also Available From The Revues: Take Me For A Little While 7”. Tracks: 1. Mi Corazón Esta Llorando 2. Mi Corazón Esta Llorando

For Fans Of... Sunny and the Sunliners, Rene Y Rene, Ray Camacho. The second offering by The Revues continues to explore the intersections between Tejano music, Latin Soul, and funk. This updated take on Rene y Rene’s coveted version of “Mi Corazón Esta Llorando” is tough but with a touch of sweetness. On the flip side we get the instrumental version only with the vocal melody being swapped out for tenor and alto saxes, heightening the Tejano influence and flavor. Also Available From The Revues: Take Me For A Little While 7”. Tracks: 1. Mi Corazón Esta Llorando 2. Mi Corazón Esta Llorando

"Party people hold onto your hats!" Ugly Duckling presents their fifth full-length album Moving at Breakneck Speed. After more than a decade in the music business, Young Einstein, Andy Cooper and Dizzy Dustin are well accustomed to the recording process. For their latest LP, the boys dug deep into their bag of tricks to create what they feel is their most dynamic and complete release to date. Moving at Breakneck Speed is an exciting and musically exotic adventure story that has our desperate heroes circling the globe to outrun an evil gang of super-criminals determined to put an end to UD once and for all. The record is made up of 14 power packed tracks that showcase Ugly Duckling's classic production sound as well as the flavorful and humorously soulful vocal styles of Dizzy and Andy. "By the time you work on your fifth record, you ought to know how to do it, right?" asks Andy, "I think we put all of the pieces together to make a really, really good album".

2022 Repress

The legendary gig that Joe Strummer, singer from the Punk Rock band 'The Clash' attended and inspired his writing their classic 'White Man In Hammersmith Palais' took place on the 05th June 1977.
At the Hammersmith Palais venue on Shepherd's Bush Road W6, London during the height of Punk Mania. The full line up for the show were all Jamaican artists Dillinger, Leroy Smart, Delroy Wilson (all the first time from Jamaica) and Ken Boothe.
'Ken Boothe for UK pop reggae' who had already scored some hits with 'Everything I own' and 'Crying Over You' in 1974. Joe Strummer was expecting Roots, Rock, Reggae but the Sound System this evening 'Admiral Ken Sound' was playing 'Four Tops all night' as in soul and northern soul that were staple crowd pleasers at the time to warm up the audience, but in Joe's eyes the music should have reflected more Jamaican roots based music. The song also deals with bigger issues of black and white unity, but some people including the Punk Rockers.
'They're all too busy fighting, for a good place under the lighting'. Joe Strummer himself was looking for fun. 'I'm the Whiteman in the Palais....Just Looking for Fun'

The artwork supplied by Punk Artist MAL-ONE has used the two posters that were made for this gig, the reggae promoters 'Star Promotions' poster, that contained a picture of Ken Boothe and the venue's own poster that used text to announce it's line up for that evenings performance. Alongside these lost relics he has also combined the groups own poster for the 'White Man In Hammersmith Palais' single that incorporated the use of rifle target sights, perhaps enhancing the air of violence contained in the songs message.
MAL-ONE has collaged these together joining the two stories as indeed the song lyrics reflected. People often forget that the songs release was in fact as year after the actual gig, we have tied this release to the 40th anniversary of the song's release. Joe Strummer was one of the few voices from the Punk Era that used his lyrics as a weapon to tell the events that were happening around him and their relevance to those times.
The song itsel a Clash Classic and also a Punk Anthem, released on the 16th June 1978. We have compiled this album with songs by these artists, most of which you would have heard that night. As a post script to this story when the Hammersmith Palais sadly closed its doors for the last time after 82 years' service in 1999, the owners thought it fitting to present Joe Strummer with a sign from the venue's entrance. Mr Strummer's understated reply 'I guess I'll have to send a man with a van round to pick it up'.
Hope you Enjoy the set....

Woo-hoo! Two of the best Italian rare grooves ever are finally back on 7'' for the first time since their original French release on the format! Both are from that most iconic film soundtrack of the Italian 70s (the LP is now a holy grail for collectors), Armando Trovajoli's score to Dino Risi's anthology sex comedy Sessomatto (1973) starring Laura Antonelli and Giancarlo Giannini.

In the title track the influence of Manu Dibango's afro-funk hit "Soul Makossa" is filtered through, and enriched by, an exquisitely Italian approach, with a sweet 'n' groovy funk base (the terrific mid-song drum break has been a DJ favorite for decades) over which Edda Dell'Orso seductively laughs and repeats the words 'sesso' and 'matto' again and again. The wild and fun electronic samba "Kinky Peanuts" on side B is a wonderful example of 'strange incredible music', with infectiously quirky Moog themes and runs.

Pretty irresistible.

Birdy Sanjazz and Philo Philta. A dream team of birds. Birdy scatters beats like birdseed, Philta makes pickypicky. One after the other. You can still hear "Grrrrr, there isn't more than one 16 per grain" and then he's fluttered on. How long this winter was, but luckily the birdhouse was always well stocked. Well-fed, they are now moving on, from Karlsruhe to Würzburg and back. Always look from above, down on this small world with its people and human-like creatures. A few of them approaching, as always. Timothy Morris, Slice, Johannes Onetake, DJ Ketch, Toby Tobsucht. Beep beep, album ready.


Birdy Sanjazz und Philo Philta. Ein Dreamteam an Vögeln. Birdy streut Beats wie Vogelfutter, Philta macht pickypicky. Einer nach dem anderen. Man hört noch „Grrrrr, mehr als einen 16er gibt es nicht pro Korn“ und schon ist er weitergeflattert. Was war dieser Winter lang, aber zum Glück war das Vogelhäuschen immer gut gefüllt. Jetzt ziehen sie wohlgenährt weiter, von Karlsruhe nach Würzburg und zurück. Blick immer von oben, nach unten auf diese kleine Welt mit ihren Menschen und menschenähnlichen Wesen. Ein paar von denen wie immer mit im Anflug. Timothy Morris, Slize, Johannes Onetake, DJ Ketch, Toby Tobsucht. Pieppiep, Album fertig.

Mit „Dust My Broom“ kehrten Boozoo Bajou 2005 nach dem Welterfolg ihres Debüt-Albums „Satta“ zurück und veröffentlichten nach Jahren des Engagements bei dem Label Stereo Deluxe erstmals auf !K7 Records. Die Sprechweise „Dust My Broom“ stammt aus dem Blues. Im übertragenen Sinne bedeutet dies unter anderem „reinen Tisch machen“ und den Beginn von etwas Neuem, einen „Neuanfang“. Mit dem Album öffnete das Duo vor allem ein neues Kapitel im Boozoo Bajou - Sound. Man hört auf „Dust My Broom“ deutlich mehr Gesang, u.a. von Joe Dukie dem Frontmann von Fat Freddy’s Drop oder der US Country Legende Tony Joe White. Ebenfalls vertreten ist die Blaxploitation / Motown Ikone Willie Hutch und der Americana Sänger Ben Weaver. Mit U-Brown, der einst als MC bei King Tubby tätig war und dem englischen Jungle MC Top Cat gibt es auch eine spezielle Reggae Note bei den Sängern. Bei der Produktion des Album ist die berühmte Boozoo´sche Langsamkeit bei gleichbleibender Zurückgelehntheit einem Interesse an variablen Rhythmen und Tempi gewichen. Die musikalische Bandbreite: Weit. „Dust My Broom“, ein Klassiker, der seinem Vorgänger „Satta“ in nichts nachsteht wird im September 2022, nach der Originalpressung in 2005, wieder als Doppelvinyl erhältlich sein.

Format: - Neues 45 rpm Mastering von Heino Leja - hergestellt bei Optimal/Deutschland, auf 180 Gramm limitiertem, schwerem, schwarzem Doppel-Vinyl im Gatefold-Sleeve

Format: - New 45 rpm mastering by Heino Leja - manufactured at Optimal/Germany, on 180 gram limited heavyweight black double vinyl with gatefold sleeve