Hip-Hop Vinyl New Releases - News

From his early days as Zev Love X to his reinvention as a masked supervillain leading the indie hip-hop revolution, lyrical savant MF DOOM has remained one of the most interesting figures in the rap universe. While most fans already worship classic albums like “Operation Doomsday”, “MM...FOOD”, and “Madvillainy”, DOOM’s output also includes a number of guest appearances, non-album singles, promo tracks, and other rarities that never made it onto an official release. Now, those tracks are finally available on “Unexpected Guests”, a limited-edition vinyl collection showcasing rare MF DOOM material. Included are collaborations with the likes of Talib Kweli, J Dilla, Ghostface Killah, Sean Price, Count Bass D, Vast Aire, Masta Killa, and more. Many of these tracks have never been available on vinyl before, making “Unexpected Guests” an essential addition to DOOM’s already impressive catalog.

Repress in soon. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.

BEAM is excited to present the long-awaited debut EP from South London mainstay, Rudefood. Across 4 tracks, the listener is welcomed into a radiantly eccentric habitat, in which freakish prog, entrancing breaks and wiggly tech are fused together with a unique melodic sensibility. The title track ‘Cloud Hop’ moves with a terrace-friendly bounce, in which pulsating sub lays the bedrock for a fluidly evolving lyricism. The cascading synths of ‘Undercurrent’ trawl the nether regions of tempo, teasing agents of higher intelligence from their slumber. On the B-side, ‘Without a Trace’ matches pastoral psychedelia with stuttered breaks, channelling multiple U.K. auralities. To close, ‘Shift’ sees rolling, crunched out throbs emerge from surging swirls, flirting with the thresholds of disorientation.

South London Jazz Rap group Summers Sons excite with an updated
and matured sound on their new album Nostalgia.
Brothers Turt (rap) and Slim (production) have created a masterful coming of-age rap album from a 90s baby perspective. Nostalgia is a classic in the making. Over the course of ten songs, Summers Sons reflect on their past, present and future as sons, brothers, husbands, fathers and friends.

Accompanied by longtime friend and musical partner C.Tappin, Alt R&B sensation KeepVibesNear and MC/community activist Eerf Evil. Since signing with Melting Pot Music in 2018, Summers Sons have released two albums plus various EPs, a beat tape and a collabo project with Twit One as Syrup. They are part of The Silhouettes Project (alongside Enny, Kofi Stone, Bel Cobain, Manic MC, Lex Amor and more) and kicked off their own label Lightworks earlier this year. Summers Sons have accumulated over 24 million streams and are regularly featured in prominent playlists like Jazz Rap, Butter, AlternaRap and Jazz Vibes. All their releases are available on
vinyl, too.

Produced by Slim.
Vocals by Turt.
Vocals on “Give Thanks”, “Three Sixty” & “Say Less” by Turt & C.Tappin.
Vocals on “This N That” by Turt & Eerf Evil.
Keys on “Give Thanks”, “Nostalgia Pt. 2” & “Songbird” by C.Tappin.
Horns on “Give Thanks” & “Nostalgia Pt.II” by Miles Bonny.
Vocals on “Nostalgia Pt. 2” by Turt & KeepVibesNear
Mastered by Roe Beardie.
Artwork by Robert Winter & Jeremias Diekman.

As reggae lovers for decades, one of our biggest dreams was to collaborate with the creative genius behind the legendary sound of the Black Ark studio, one of the dub originators, the man responsible for shaping the sound of Bob Marley and the Wailers amongst many other greats, the mighty Upsetter, the unspeakable Lee “Scratch” Perry! That happy day has finally arrived in 2019 when Lee, who lived in Switzerland for a longtime, recorded his voice on The 18th Parallel’s ‘Cosmic Drop Riddim’.

The details around ‘Words From The Upsetter’ recording are not that common. In summer 2017, we at Fruits Records had the privilege to tour European festivals with Lee “Scratch” Perry as members of the Najavibes backing band. This is how we got to know the legend and start the production process. The first seed was sown. Nevertheless, the riddim track of the song was laid down in Kingston in 2014, as our crew of musicians – not known yet as The 18th Parallel – was recording our first release ever, A Little Walk album with the legendary Sino-Jamaican singer I Kong. The unused riddim slept in the hard drive for five years until we found the right artist to ride it. The Upsetter had that mystic vibes we were looking for, it was a perfect fit.

Then we spiced it up with a few more overdubs – analog string synthesizer, cosmic guitars, subtle sounds of musique concrète. Finally Roberto Sánchez brilliantly recreated the type of sound that the Black Ark was famous for: full of Mutron Bi-Phase, tape delay and spring reverb hits as testifies the dub version ‘Spring Thunderstorm’.

The production of this song has been a long and heavy process, but we're now able to present this brand new recording to the world. Sadly, Lee’s not physically here anymore to witness this release, but his musical legacy is so immeasurable that his memory will live forever in every music enthusiasts’ heart around the world. And this record is now a part of this legacy. We’ll be forever thankful for this opportunity and would like to give a special thanks to his family and friends (big up Dr. T!) who helped us and gave us assistance during the creative process. This record is dedicated to the loving memory of Lee “Scratch” Perry.

The ‘Cosmic Drop Riddim’ wouldn’t be fully completed without two extra unexpected cuts. The first one is an amazing instrumental song featuring Perry’s longtime friend and Jamaican number one trombonist Vin Gordon where trombone meets bass clarinet and bass flute to create a deep, foggy, mystical atmosphere. This will take you to a night journey to East Africa. The second cut highlights the art of dub poetry through the beautiful poem by Yasus Afari, ‘Healing Chant’.

Spring 2019, Disco Milk drops the last release of the year on the label and it's a funky bom! Wrapped around a fat funk bass, Trust In the Super Paolo packs a real punch to the groove offering a slice of groovy hip hop for those that like their music with a distinct funky vibe!

Perfectly complimenting the Original Mix the one man production juggernaut that is LTJ X-Perience, J&M Brothers and David Agrella add his effervescent discoish touches to the track, blessing it with a silky smooth groove yet still retaining a dance floor moment with it's infectiously groovy melodic line!!!

As reggae lovers for decades, one of our biggest dreams was to collaborate with the creative genius behind the legendary sound of the Black Ark studio, one of the dub originators, the man responsible for shaping the sound of Bob Marley and the Wailers amongst many other greats, the mighty Upsetter, the unspeakable Lee “Scratch” Perry! That happy day has finally arrived in 2019 when Lee, who lived in Switzerland for a longtime, recorded his voice on The 18th Parallel’s ‘Cosmic Drop Riddim’.

The details around ‘Words From The Upsetter’ recording are not that common. In summer 2017, we at Fruits Records had the privilege to tour European festivals with Lee “Scratch” Perry as members of the Najavibes backing band. This is how we got to know the legend and start the production process. The first seed was sown. Nevertheless, the riddim track of the song was laid down in Kingston in 2014, as our crew of musicians – not known yet as The 18th Parallel – was recording our first release ever, A Little Walk album with the legendary Sino-Jamaican singer I Kong. The unused riddim slept in the hard drive for five years until we found the right artist to ride it. The Upsetter had that mystic vibes we were looking for, it was a perfect fit.

Then we spiced it up with a few more overdubs – analog string synthesizer, cosmic guitars, subtle sounds of musique concrète. Finally Roberto Sánchez brilliantly recreated the type of sound that the Black Ark was famous for: full of Mutron Bi-Phase, tape delay and spring reverb hits as testifies the dub version ‘Spring Thunderstorm’.

The production of this song has been a long and heavy process, but we're now able to present this brand new recording to the world. Sadly, Lee’s not physically here anymore to witness this release, but his musical legacy is so immeasurable that his memory will live forever in every music enthusiasts’ heart around the world. And this record is now a part of this legacy. We’ll be forever thankful for this opportunity and would like to give a special thanks to his family and friends (big up Dr. T!) who helped us and gave us assistance during the creative process. This record is dedicated to the loving memory of Lee “Scratch” Perry.

The ‘Cosmic Drop Riddim’ wouldn’t be fully completed without two extra unexpected cuts. The first one is an amazing instrumental song featuring Perry’s longtime friend and Jamaican number one trombonist Vin Gordon where trombone meets bass clarinet and bass flute to create a deep, foggy, mystical atmosphere. This will take you to a night journey to East Africa. The second cut highlights the art of dub poetry through the beautiful poem by Yasus Afari, ‘Healing Chant’.

Mid 90's promo re-issue 45 from american r n b singer Yvette Michele…

Rough Signal Records featured Johnny Clarke who is living legendary artist from Jamaica. This is the keyword in this release that is “UNITY”. We are describing reality some people disconnect from community and now we need it more “UNITY” in this world what we made it for. The riddim feels like 80s one drop roots and with sorrow mood of Johnny Clarke lyrics . And also we featured Colourman of youth promotion as the deejay cut. On the B side has wickedest dub mix and riddim by Dub Kazman.

King Most was a guest in multiple shows of Oonops' radioshow on Brooklyn Radio before he invited him for (meanwhile sold out) releases on his "Oonops Drops" and "Resense" selections via Agogo Records.

Now it's time to say hello again on his own label and his "Redropped" series where he strikes back with double-sided gold for any dancefloor. Enjoy two hot takes on classic songs which are edited perfectly in King Mosts unique style be that heavy beats or eased bossa rhythms.

As a full-time DJ King Most now sits at the top of San Francisco's DJ elite, shared the decks with favorites like Jazzy Jeff, Ali Shaheed Muhammad (A Tribe Called Quest), Rich Medina - his tracks got airplay by Gilles Peterson, DJ Spinna, Anthony Valadez and his songs on SoundCloud have logged over 300k plays!

Enough said - pre-listen to the tracks and get them on limited recycled black vinyl!

"Ideology" is the new album by Newcastle/UK soul and funk institution Nick Pride & The Pimptones, featuring the two singles "Don't Turn Me Loose" and "Four Leaf Clover". The Pimptones sound is the coming together of funk and soul, jazz and blues, disco and dance, tightly performed with pop sensibilities and a feel for the classic.

Nick Pride formed The Pimptones back in 2007 to deliver funk, soul and jazz with tight musical arrangements and a great live show. Since then the group has toured Europe, recorded four albums ("Go Deep" and "Rejuiced Phat Shake" on Légére Recordings, "Midnight Feast Of Jazz" on Record Kicks and the self released "It's The Pimptones"). dabbled in various side projects and gained international airplay and recognition. However, following "Go Deep" (2016), it was time for the band to go through a reinvention. The Pimptones now return refreshed and retooled. New singer and full time band member Eliza Lawson plus an all new rhythm section now perfectly compliment the horn section, always a Pimptones trademark.

From the more modern soul pop of "Four Leaf Clover" and "Put It On The Record", the disco of "Keep It In The Family", the organic funk of "Mama Got The Nasty Jams" to the Latin jazz of "UNITY", "Ideology" is not afraid to stretch out musically. But the twelve new tacks push the envelope lyrically as well, as Nick Pride explains: "For this album I wanted to talk about issues which mean something to me in a way which I hadn't tried on previous records. The challenge is to write about equality, acceptance, feminism and social justice whilst producing a record that's fun to listen to."

"Queens Are Stronger Than Kings" dreams of a world run by women rather than our male dominated political systems. "Oh Michelle" laments Michelle Obama's absence from office and dares to wonder how her government might handle today's America. "Woke" speaks of an individual's awakening from antiquated oppressions and seeing an old world with a new perspective: "This world is putting so many issues into clearer focus right now. We all have learning to do, we can all have these light bulb moments!" With awareness comes debate, and with debate there comes conflict. The song "Talking Bout Love" touches on the arguments which can follow. "Especially on social media, I see people so focused on trying to 'win' the debate or trying to sound cleverer than, or superior to, each other. This song takes a step back and asks which side of any given argument you should want to be on by the simplest possible criteria – are you on the side of compassion?"

Meanwhile when it's time for a straight ahead love song, the band delivers Northern Soul stompers "Don't Turn Me Loose" and "One More Tear", bangers which would sit happily on any of The Pimptones' previous albums. "Gotta Shimmy" is the type of irresistible instant funk that this band was born to play! I set myself the challenge of writing lyrics with purpose and message but not losing the joy of what soul music can be. Ultimately, the "Ideology" of this album is full of optimism and hope for a better future".

Pressed on recycled vinyl.

Oonops hand-picked selections for Agogo Records "Resense"-series continue under its new name "Redropped". Same quality, all put on recycled wax and packed full of the hottest versions for all the 45 DJs.

Volume 001 is starting with the one and only Smoove from the UK. He joined Oonops for his shows on Brooklyn Radio several times as well as appeared on his last Resenses. Now he's back and opens this new series with two absolutely bangers: a beefed up Boogie monster of a stone cold Hip Hop classic plus a headnod version of it on the flip. Be quick!

Pressed on recycled vinyl.

DJ and producer The Gaff from Canada who has rocked parties and clubs worldwide alongside Questlove, DJ Shadow, Cut Chemist and many more is in the house for "Redropped" 002 with two must-have cuts. Starting with a beautiful soulful track which combines a classic soul legend with some carefully thought beats and ending on the flip with a jazzy tribute with DJ Marvel to one of Hip Hop's finest plus bonus beats. What more could you want?

You'll know that his releases will fly quick, so better watch out.

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.

The 2nd Dubplate follows the Persian 10", presenting a combination of highly prized and archival dub influenced music to be given a deserved wider appreciation and some, a first pressing on vinyl.

Little is known of B:dum B:dum Sound except they came from the ever mutating Manchester art, film and music scene. Based around a core of Jamie Crossley, Nick Farr, Steve Gears and Karl McGinley, they merged their backgrounds in post-punk through dub and the City's vibrant dance scene, to produce their sole 12"" - the 1993 self released (and Bolton Art Council funded) B-Dum B-Dum EP.

Containing the perfect marriage of samples, sound design, dub and house in Istanbul, the music was perhaps too ahead of its time, becoming a secret for the City's aficionado's and diggers. It's appearance on the "Originals" compilation series, included by Moonboots and Balearic Mike, brought it to wider attention and reverence and today sees the EP selling for upwards of L300.

The tracks inclusion being worthy alone, also included however are the unreleased Stateless and 3 tracks making up the flip, all culled from a mythical album some 10 years whence, of deep dub vocal, with nods at techno, that makes this 10"" essential.

Dub the Mystery.

It's a Leeds meets Uganda link up, as Subdub residents Danny T & Tradesman meet one of the top MC's in Africa today, Blessed San, on this high energy riddim, ready for the soundsystem.

Nick Manasseh completely reworks the instrumental for his take on the record, with a laid- back, deep and soulful remix for the B side, perfect to warm up any session.

Limited run of 400 coming in 2022, pressed to 180g vinyl. Mastered by Ten Eight Seven and distributed worldwide by Unearthed.

Founded by Freddy DeBoe, longtime Charles Bradley and the Extraordinaires saxman and stalwart, D-BO records' inaugural release are two burning, instrumental sides from the man himself.

"Remember the Good Times" breezy, mid-tempo groove and soulful horn melody sends you on a euphoric, Jr. Walker-laced trip through the forgotten corners of your mind. And if greasy, bluesy shakers are your bag, simply flip this platter over and dig "Gato Loco". A must for fans of the Las Vegas Grind compilations.

Repress!

With all that has happened in 2020 and 2021, music continues to allow me to focus on only that as I create it. It helped me get through this pandemic".

Jon has brought to us yet again, a one-of- a-kind EP. This EP features the unique vocals of Detroit's own Moodymann and Britt Frappier. It also features the smooth voice of Jazz singer Sarah Elizabeth Charles. Kasan Belgrave, son of the late great Marcus Belgrave, keyboard genius Ian Fink, Detroit Hip Hop guru Darrius Quince, and minor INVENTION are also featured. Dig deep into this music as every rhythm, word, note and chord was created only as we know how in the D!

On ‘Deciphering The Message’, Chicago-based jazz drummer and producer Makaya McCraven reworks some jazz classics. Tunes by the likes of Art Blakey, Horace Silver, Hank Mobley, Dexter Gordon and Ahmad Jamal are triumphantly reborn into the world of hip-hop. McCraven has chosen and reworked the tracks to work as a complete LP rather than individual tracks. “I always want to make music that will connect with people in one way, where it makes them nod or feel something or transport them somewhere,” McCraven said in a statement. “I also hope this makes them check out the source of this music if they have it. The music that we’re making now is part of the same route and is connected, so I want to honor tradition and release something that people can vibe to.”

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Detroit/Chicago and odd techno/house sounds influenced French producers Marius Cyrilou and Popodi Venturi to come back with a new banging crossover project called MOTORBREMSEN. Marius and Popodi already had many digital and vinyl releases on various labels like People Potential Unlimited records, Omega Supreme Records, Outrun records and on their own labels, La Maison Venturi, Bazaar Records under the names of Spaced Out Krew, The Ceeofunk Band or
Westbrook (and many others more).
This 5 tracks EP gathers many influences such as Theo Parrish, Moodymann ("So Confused") or Drexciya-n sounds ("Sanctuary"). Some deep and dark bassy house mood concludes this ep ("Human Freaks" , "Riding Over The Darkness"). Besides this, the marvellous voice of Mae Rojas (The Ceeofunk Band) comes with a sensual touch on the track "Tiger Prey (Radio Edit)". This EP gives an instant deep feeling of a happy-to-sad mood, with mysterious and sexy moments.
On A1 "So Confused", Don’t be confused, this is music to drive by in the hood with your low-rider. Gangsta boogie house at his climax for fans of Moodymann, Theo Parrish and all the raw house music mood.
On A2 "Tiger Prey (Radio Edit)", with the help of Mae Rojas (Cee-O-Funk Band) on the mic, Motorbremsen keep pushing their unique vision of house music : soulful but raw, relaxed but not so slow, catchy but weird at the same time.
On A3 "Sanctuary", let’s get on an electro-funk territory here. The guys explore a sound that can be rooted in seminal Arthur Baker’s productions and Drexciya’s mood but this a strong psychedelic feeling that is truly unique. All this comes with the special Motorbremsen’s touch of course. One for the B-Boys on acid...
On B1 "Riding Over The Darkness", get in the D’s train for a cruise. Laidback house with a monstrous bass and this almost G-Funk feeling. Hmmmm… delicious ! One for the lovers.
On B2 "Humanfreaks", let's get a bit darker. What begins like a bumpy beat get you little by little in real moody trip in a hot warehouse. Detroit techno muscular funk-infused inna 2021 style (by two guys who never listen to a Transmat record of their lives).

Sam Wills releases his highly anticipated debut album ‘Breather’. Having carved out a reputation for himself as a go-to collaborator with nu-jazz trailblazers such as Jorja Smith, Tom Misch, Lucky Daye and Joren Rakei, ‘Breathe’ is the sound of a hugely taleneted musician and songwriter finding their own voice. The las 18 months have seen Sam release a steady stream of singles.

BBE Music presents a brand new album celebrating one of Philadelphia soul music’s most iconic figures, Teddy Pendergrass, remixed by pioneering producer and engineer, John Morales. This exploration of 1970s Philly soul at its apex focuses on one of the era’s defining voices, Theodore DeReese Pendergrass. Born in Philadelphia in 1950, Pendergrass sang church music at age two, and was ordained a minister at ten years old. Having learned drums and played in local bands during his teens, at 20 he was hired as a drummer for the Blue Notes by group leader Harold Melvin. After being spotted singing along onstage, he was soon appointed lead singer, and the rest is history… The masterful, revealing remix work of John Morales affords these classic songs improved clarity, allowing each individual player more space to be heard and modernising the recordings without ever losing sight of the original spirit. The virtuoso quality of the songwriting, production, arrangements and performances shine forth anew, and so do some of the music’s subtler qualities and nuanced, sometimes conflicted, subtexts that might have been overlooked in the most conventional view of Pendergrass in his prime. Curated authoritatively, remixed with love and passion, John Morales’ collection revisits our relationship with Teddy’s and Gamble & Huff’s music as compellingly and immersively as when it was new. Teddy’s timeless force resides equally in his talent for portraying truthfully the joys and hurts, beliefs and doubts, blessings and challenges of our lives, and in the bravery of confronting them all with an honesty that is still utterly extraordinary.

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

Recorded between Kelly Finningn's Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Record Kicks is proud to finally present Solid Ground, the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002, with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks. The album is anticipated by the two killer funk singles "Bird of Paradise" and "More and More" on limited edition 45 vinyl.

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

Strut presents the first ever reissue of an essential lost classic from the Black Fire catalogue, Wayne Davis' powerful self-titled gospel-soul album from 1976.

For the third release on Storming Dub Records we are proud to have on our roster one of the more talented dub producer from France: WEEDING DUB. He's well-known for a good amount of killer dubs released over the years which have been played all over Europe and beyond from the biggest Sound Systems on the scene.

New Supa Killer Boogie Funk album of Funk Lab "Natural Feeling"

Home Hitters return with 2 more guaranteed floor fillers, this time from the world of RnB.

Dutch producer returns to Boogie Angst for instrumental sophomore LP

Rotterdam, The Netherlands - Boogie Angst proudly presents Music Ruined My Life, the brand new instrumental LP from Rotterdam-based artist and producer Moods.

Dropping in the wake of front runner singles 'Talk About It,' and 'Music Saved My Life',' the Dutchman's notorious fusion of soul, R&B, and alternative influences takes a whole new dynamic courtesy of his first fully live recorded offering.

Recorded live in the city of Leiden during the peak of the pandemic alongside a full band, the LP taps effortlessly into the balance of soulful and jazz-inspired undertones that have hallmarked the project since breakthrough single 'Love Is Real.' A tastemaker favorite and label staple, the LP shows a more intricate and uncaged spin on the Moods sound, which has been consistently hailed by tastemakers globally and sampled by the likes of Logic.

The supple guitar plucks and resonating brass of 'Deeper Water' sets the LP in motion, building towards the funkier and perkier swells of album cuts such as 'Ecstacy' and 'Push Pull.' Capped by 'Return To 4ever,' a sultry and deeply atmospheric fusion of jazz and contemporary soul sounds, the eight-track endeavour shows that for all his streaming and collaborative success, the rich musicianship of the Moods project has not waivered.

"There really wasn't a huge concept or target for this record, it was more about tapping into the pure joy of making and creating music," he explains. "The pandemic was such a weird time, there was a lot of uncertainty in all aspects of life. So it almost felt like the perfect time to try something new. Having the band together in one room was a real rush, I liked how the record came together and how each artist brought their own energy to the project.

"I enjoy working with vocals, and I think the vocalists I have worked with on projects so far have been amazing. But when you take that element out and focus more on the instrumentation and arrangement, it's a really different experience, and that's something I really enjoyed for Music Ruined My Life.

Moods garnered more than 30m+ streams globally for debut LP Zoom Out, and has continued to leap from strength-to-strength courtesy of his soulful take on the boundaries between electronic and contemporary R&B.

Reissue!

Cold Busted has navigated the smooth seas to unearth Sailing, the new album from Moroccan guitarist and beat-flinger saib. The Casablanca-based producer has steered his sound into warmer waters. Mixing tempered hip hop beats with jazzy vibes and a lounge sensibility, saib. touches on a style that's both chill and opulent. The album's opener, "Archipelago," sets the scene with gentle piano, swirling strings, and beachside sounds that would make Martin Denny proud. "Tropics" pushes the agenda further, featuring delightful vibraphone lines, stand-up bass, and boom bap beats, providing the perfect soundtrack for poolside cocktails. The sleepy crooning of "Blue Memories," the future-retro sing-a-long of "Mermaid Dreams," and the guitar/vibes interplay of "Pastel" provide other highlights. Sailing's twelve songs show saib. as an artist capable of bringing a sunny climate to any listening environment.

Death Is Not The End follow up their early 2020 tape The Sun Is Setting on the World with a further collection of hardcore rebetika recordings from the 1930s through to late '50s. More songs of sorrow, poverty, loss and the end of the world.

Blue Vinyl

We are so happy to bring you another (the 2nd) Double 7 Inch with 4 smooth, funky Brasilian Edits by our long time TSTD family member Vibes4YourSoul!
Too Slow To Disco regulars will remember his name from several relases so far: his standout remix for L'impératrice on the "TSTD - En France" compilation, his remix for Poolside from "The Sunset Manifesto", his edits on all 5 Yacht Disco Edit compialtions, and the quickly sold out double 7 inch with Edits we released in 2020.
He is one of the crème of new reworkers and edit-producers, that have specialized in those soulful, smooth slow jams and midtempo tracks, that Djs all love for their warm up sets.
Vibes4YourSoul (aka V4YS) is a Parisian DJ and producer whose musical universe blends together elements of disco, rare groove, afro-latin and soulful indie, with the deeper edge of contemporary house and nudisco sounds. The four reworks on this Double 7 Inch take you on a colorful trip to Brasil, held together by Vibes4YourSoul's lush, mellow and funky production:

Fruit of a long and passionate digging experience, his DJ sets are eclectic journeys through times and styles, with groove as a common thread.
A member of Yuksek's Partyfine label crew, he's regularly revisiting old or contemporary tracks through edits and remixes, widely shared and played by numerous DJs.

Recent official releases include an original track for Cookie Records second compilation, an exclusive edit Partyfine's compilation "re-cover", an official remix for French pop band L'Impératrice on Berlin label HDYA?City Slang, and several funky edits for NYC nudisco weblabel Noc Boots.

Yaya Bey ist eine der spannendsten Storytellerinnen des R&B. Mit einer Kombination aus den Kräften ihrer Vorfahren und denen ihrer eigenen Selbstverwirklichung navigiert die Singer-Songwriterin nahtlos an den Stolpersteinen des Lebens vorbei und direkt hinein in die freudigen Momente der Musik. Beys neues Album, „Remember Your North Star" fängt diese emotionale Achterbahn mit einer Mischung aus Soul, Jazz, Reggae, Afrobeat und Hiphop ein, die die Seele nährt.

Beys Fähigkeit, die emotional kaleidoskopische Natur von Frauen, insbesondere von schwarzen Frauen, anzuzapfen, ist die Essenz des gesamten Albums. Die von der Kritik gefeierte multidisziplinäre Künstlerin und Kunstkuratorin, die mehrere Kunstresidenzen im Brooklyner MoCADA (Museum of Contemporary African Diasporan Art) absolviert hat, beschäftigt sich mit Themen wie Misogynie, Generationstraumata, sorglose Romantik, elterliche Beziehungen, weibliche Ermächtigung und Selbstliebe. „Remember Your North Star“ setzt Beys persönliche und künstlerische Entwicklung fort, indem sie sich bemüht, ein Resonanzboden für schwarze Frauen überall zu sein. „Ich fühle mich durch die Musik gestärkt, weil ich alles, was mir widerfährt, in etwas Wertvolles verwandeln kann. Musik hilft mir, den Wert dessen zu erkennen, was in meinem Leben passiert.“, erklärt sie. „In der Musik steckt ein Geist. Sie ist eine Kultur, und ich bin Teil dieser Gemeinschaft und trage mit meiner Geschichte dazu bei, dass wir miteinander verbunden bleiben.“

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity