Hip-Hop Vinyl New Releases - News

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’ and a UK tour to commemorate it during April 2020.

Recorded at Randy’s Studio 17 and Lee Perry’s Black Ark, Max Romeo’s Revelation Time is rightfully regarded as one of thecornerstones of Jamaican music. Released in JA in 1975 on Black World, the album was picked by United Artist for US release and later by listed in TheRough Guide to Reggae as one of the essential reggae albums to own. Includes the classic Lee Perry production ‘Three Blind Mice” and one of the all-time high-grade ganja anthems “A Quarter Pound OfI’Cense”

The first release from Certain Sound is a collaborative effort, the result being two stellar tracks from the dynamic duo; Producer, DJ and label owner Barry Manalog, with MC and all-round wordsmith Ash The Author.

Side A, Cloud Riders, is a light and poetic number. The production oozes those jazz stylings reminiscent of that classic Hip Hop vibe, something to nod your head to on a late night. Ash's lyrical content is hopeful, and dream filled, rising above the clouds like Superman with his Lois Lane. Smooth as butter, the production and vocals go together effortlessly.

Side B, Extraterrestrial, completely flips the script! Whilst side A had us riding through the clouds, Side B completely blasts off and takes us out of this world! The production is gargantuan, heavy drums, haunting samples, it hits you like a slap in the face! Ash comes in on exactly the same tip, a relentless barrage of wordplay and punchlines. Venomous, but still with that slice of wit we've come to love him for, Ash's hunger really comes through on this track! To top it off, we have some seriously ferocious cuts from veteran turntablist DJ Chud, from the legendary Steel Devils crew.



DJ/Radio Support
All City Show/ with interview, Blatantly Blunt, Disorda, Fatp, Realness Radio, 1XTRA, Hatter Saturday Sauce, Boot Records show, Chud on KANE FM, Cypher Lounge Show, BBC Intoducing,Trackside Burners, DJ Madhandz Itch FM, Captain Co, Brick Celly, Hellfire Corner, Deejay Random, Jazz T, DJ Format, Soup (J5), DJ Madhandz.

Taking the tradition of Jamaican music to utilise the same rhythm tracks for infinitum, here, as an accompanying release to the boogie version of I've Been Waiting For You (ERC081), is a twist on that ideal, not using the riddim but an actual remake of the song, with a digital reggae cover of Glen Ricks' classic.

Released some 8 years after the Seraff Rec
ords single in 1991, the re-titled I Have Been Waiting saw Ricks team up with dancehall legend Philip "Fatis" Burrell and his Xterminator label.

Starting with the Kings & Lions label to release the likes of Sugar Minot and Tenor Saw, Burrell soon launched the Vena (1985) and then Exterminator (1988) - later Xterminator - labels as vehicles to the rising dancehalls stars, to much acclaim.

This limited 10" release showcases perfect digital re-versions, using Ricks' soulful vocals across a simple bells and horns topped "casio" riddim. The transference comes in traditional vocal and version, so who better to craft a special extended "digimix" than returning to the 'cut'n'paste' skills of DJ Duckcomb. Again he steps up, mixing seamlessly between originals, adding desk dubbing when required and bringing a new flavour to Emotional Rescue.

Center of Gravity - Steppas Records is excited to present the new album from Korean-German producer JahYu. This heavyweight instrumental dub album breaks all convention taking the listener deeper into the world of mystical and etherial soundsystem music. Exploring and fusing the realms of Dub, World and Electronic Music. The enigmatic producer blends contemporary bass music with the sounds of his ancestral homeland, playing and recording traditional Korean instruments; Kayagum, Geomungo, Haegum, Daegum, Hun, Yanggum and Janggu via his own hand. Center of Gravity is another truly eclectic, profound and exciting album from Steppas Records not to be missed.

“A perfect fusion of meditative Eastern instrumentation with 21st century sound-system vibration.” Mixmag

In partnership with onetreeplanted.org we will plant a tree for every record sold.

IZIPHO SOUL RECORDS are thrilled to be releasing JASON ANTHONEY WRIGHT’S 2008 masterpiece, 'RESET TO ZERO' on a 7’’ single! Produced by Absolute’s Paul Wilson and Andy Watkins, 'RESET TO ZERO' is one of the finest pieces of U.K. retro soul.

The soaring lead vocals, layered over a soulful groove has made this a respected song on the musically knowledgeable rare soul scene, whilst still maintaining that wider reaching appeal a feat only achieved by very few compositions. On the B-Side is the Pete and Steve Lewinson produced Motown flavoured LOOKING THROUGH THE WINDOW.

A musical journey around the globe with music from OiVa Voi (London), Arthur Lee (Memphis), Manolis Hiotis(Athens), BaBa Zula (Istanbul), Manau (Paris), dunkelbunt (Vienna), Axel Krygier & Tremor (BuenosAires), Watcha Clan (Marseille) ... on a limited edition double vinyl (incl. CD album) - only 150 copies available for distribution! Many songs are available for the first
(and maybe last) time on vinyl!

- First 45 from new label 3 Palm Records - Classic deep funk and soul cover featuring singer Adryon De León - Hard break beats and soaring vocals // West Coast soul and funk powerhouse Orgone returns to their roots with this scorching cover of the James Brown-produced Marva Whitney song "It's My Thing (You Can't Tell Me Who To Sock It To)." The original is considered a breakbeat classic and has been sampled by hip hop's golden era stalwarts (NWA, Public Enemy, & EPMD). Orgone brings their brand of heavy hitting, gritty production to update the song for new ears and a new era. Lead vocalist Adryon de León struts and belts with swagger and soul, riffing and owning Marva's response to the Isley Brothers' "It's Your Thing." Orgone's seasoned rhythm section chugs hard and heavy in their crusade to do justice to the legacy of James Brown's renowned band The J.B.'s. Topped off with percussion breaks and killer horn lines, this side is ready to be embraced by soul aficionados, beat junkies, and deep funk crate diggers_not to mention the hardcore fanbase that Orgone has established over two decades of critically acclaimed studio releases and a well-earned reputation for fiery live shows. This is the debut 45 from 3 Palm Records.

'Say What's On Your Mind' by Rikki Aaron was the song that brought Rikki to prominence within the rare soul scene. We decided to allow UK based Ourra to give it some new life with a sprinkling of 80s boogie vibes. On the flip we've got a very raw stripped back version of the song. The song itself was originally written by Rikki whilst still at school in the 70s and is a timeless piece of classic soul music.

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-I-Y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording
techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and VQOA from France, De
Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City.

Orange Vinyl

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-I-Y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording
techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and VQOA from France, De
Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City.

Experimental Electronic And Acoustic Soundscapes 1961-88.

Soul Jazz Records' new Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.

From computer software and hardware experimentalists and sound pioneers such as Laurie Spiegel and Kevin Braheny, as well as Mother Mallard's Portable Masterpiece Company - the first synthesizer ensemble created in collaboration with Robert Moog - through to the earliest musique concrète experimentation of Tod Dockstader, the album shows how technological advancements and creative artistic expression went hand in hand.

In the mid-1970s artists Steven Halpern and Iaxos were instrumental in creating proto-new age music, experimenting in both the healing properties of sound and its relationship with the natural world. These artists also pioneered a new self-contained and underground D-I-Y approach to music, creating their own record labels, forming new distribution networks (with albums sold in meditation centres, health food stores and ashrams) far away from the commercialism of the mainstream music industry.

In the early 1980s after the revolution of punk, these D-I-Y attitudes and ideas appeared once more in the growth of the distinctly anti-commercial and underground cassette-only careers of artists such as Germany's Stratis and Carl Matthews in Britain.

This album is available as a heavyweight triple vinyl album (plus download code), CD and digital release. Artwork includes some of the earliest photography of the Plieades star cluster dating from the 1880s.

* UK dub classic dating from 1993 from The Disciples that originally came out on the Boom Shacka Lacka label causing a massive stir at the time of release, not just within the sound system dub scene but cross-genre, in what was later to become known to as “bass music”.
* A prime example of instrumental UK dub, featuring the original three mixes plus two extra previously unreleased raw mixes.
* The Disciples, along with the likes of Sound Iration, Manasseh, Alpha and Omega and Conscious Sounds are the forerunners of what became known as the UK roots/dub scene.
* Highly regarded for their custom built dubplate cuts for Jah Shaka, The Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

Introducing the debut release on brand new Belfast-based Funk & Soul Record Label Superfly Funk & Soul Records

Based in Northern Ireland, Hammond Organ Trio The Organauts have been together since 2015 and have a sound drenched in a unique blend of funk & soul. Their debut single 'I Feel Love' is a cover of the 1977 hit by the 'Queen of Disco', Donna Summer. Bombastic power chords and invigorating electric guitar riffs indulge us with their take on this well-known classic. Played and supported heavily by Craig Charles at BBC Radio 6 Music & Eddie Piller on Totally Wired Radio amongst others.

First volume in this up & coming series showcasing the talent Latin funk pioneers and soul poets. A precious dj tool and a spectacular selection all in all. Can you dig it ?

Early in the year 2020, the world saw an unprecedented shutdown unlike anything we had experienced in living memory. Communities everywhere closed ranks, putting an end to physical interaction between individuals in response to a rapidly developing and unpredictable crisis. The streets emptied of rush hour traffic, and landscapes took on a new and eerie silence.

As a result, we found our thoughts wandering the world, while our physical selves remained firmly at home. For artists, creative energy was frustrated by the physical sense of confinement. But human beings are resilient creatures, and so individuals began reaching out to each other across the empty spaces, finding inspiration in cooperation and partnership.

The recordings featured here are a direct result of these times. Drawing upon existing source material, these artists worked remotely over the course of a year, exchanging ideas and developing the finished pieces that you now hold in your hand. In the course of this activity, new means were found, and new works unearthed that may never have seen the light of day.

We do not intend this as a statement of strength and durability, for that would imply that human beings are rigid and cannot change. Instead, we hope to celebrate that fact that we can change, we can adapt. And we celebrate the link of humanity that ties us together in this world that we share.

"Billy Wooten is vibraphonist and percussionist from Indianapolis who also participated in ""Grant GreenA/AVisions"", which was released from Blue Note, and ""Richard Evans / Dealing With Hard Times"" etc.
This is the regendaly live recordings from Billy Wooten and his band ""The Wooden Glass"" played in 1972,The CD edition has sold more than 10,000 pcs,the masterpiece of ""jazz-funk"" live albums will finally be analog vinyl here! It comes with an OBI-strip."

Body Meat—the project of Philadelphia-based multi-instrumentalist and producer Christopher Taylor. Streched and bold out of shape pop accompanied by mangled electronics that meld together like a beautiful peice of abstract dance. full info soon!

Having previously focused on inspiring new music from around the world, Into The Light’s ongoing International Series is set to step back in time with its’ first ever reissue: a new edition of a street soul-inspired 1991 single from African-American photographer, film-maker and hat designer-turned-vocalist Claudette Outland AKA Chapeau Claudette.

Outland’s sole single is in many ways an unlikely curio – one of the tracks featured a rap inspired by German reunification, and the other was a stylish celebration of the relationship between fashion and music – but one that has undoubtedly stood the test of time. Musically inspired by a mix of late-‘80s work, British street soul and glassy-eyed European synth-pop, the double A-side was produced and mixed by Cologne studio engineer Jurgen Garbitowski, and subsequently released on his own short-lived label, Gato.

‘Fashion c’est la latest attraction’, which originally adorned the A-side of the 12” version of the single, is a slow-motion, hip-hop tempo affair in which Outland whispers, sings and raps in English and French over smooth, groovy bass, crunchy street soul beats, chiming synthesizer melodies and dreamy, glassy-eyed chords. Some of the melodic flourishes recall the new age synthesizer sounds of the 1980s, while the track’s bubby groove also boasts subtle nods towards lovers’ rock

For this reissue edition of the single, Into The Light has secured a previously unreleased “dub edit” of ‘Pass Auf’, the reunification-inspired rap track that first scored her a studio date with Garbitowski. More up-tempo with weightier bass, house-style piano riffs, sampled horns, funky guitar riffs and bustling, club-ready breakbeats, the track casts Outland as Berlin’s answer to Neneh Cherry. All these years on, the record remains as funky, joyous and celebratory as ever!

Kerbside Collection's third album "Smoke Signals" released in late 2018 is a real winner. Continuing in a down home, instrumental approach, but this time crafting newer ideas and flavours into their spectrum of warm, analogue, dusty rare grooves from much more Fender Rhodes electric jazz elements, to New Orleans sprinklings alongside their 60's inspired West Coast style.

"Cajun Jollof" is one the key tracks and was already released in its original form on a 7inch vinyl on Spasibo Records from St. Petersburg/Russia. Now French dub expert Grant Phabao takes "Cajun Jollof" on a surefire ska tip, while TwoDee delivers a down low dub version.

A collector and DJ from Dallas, Texas, Chad "High-C" Burnett of Rehash Media, first exposed Bartell's "Top Going Down, Bottom Going Up" in the "Excavations" section of the Rehash web site in December of 2001. For all intents and purposes, the 45 had been unknown to collectors but caused a quite a stir while everyone who heard it searched for more copies. The 45 remained out of reach until February of 2004 when noted British collector/DJ Ian Wright turned up a copy and began to play the 45, giving it further exposure by way of a radio show featured on the deepfunk.org web site.

Hailing from the small farming town of Ashburn, GA (population roughly 4400) noted as the "Peanut Capital of the World", young Nathan Bartell had grown up around music, playing trumpet in the school band and jazz band. After graduating from high school in 1962, Bartell moved to Atlanta where he found and enjoyed a thriving music and night club scene, catching then local acts such as Gladys Knight, The Tams, as well as the many touring acts that came through town and played clubs like The Palladium, The Pink Pussycat, The Casino and The Royal Peacock

The point at which the story truly begins to take shape was a fateful night in the summer of 1967 at a nightclub on Bankhead Highway near Northside Drive. The house band was doing its thing, but the crowd was thinking about Wilson Pickett's current hit "Funky Broadway" as they kept shouting for the band to perform the song. After some discussion amongst the band, a few of the musicians decided they knew the song well enough to give the people what they wanted, provided somebody knew the lyrics, as their singer did not. Bartell took the stage, and must have done the job right, as he continued performing with bands in clubs all over Atlanta such as The Oasis, and the most important of Atlanta nightclubs, The Royal Peacock.

By April of 1968, following the assassination of Martin Luther King Jr, Bartell was married to a woman who also came from Ashburn. She didn't care much for Atlanta, so the couple moved back home to Ashburn. Music was still boiling in Bartell's blood, however, and it wasn't long before he began singing with a group called Eddie and the Cascades from just up the road in the (even smaller) town of Cordele. Eddie and the Cascades performed in clubs around South Georgia until the band broke up in 1972. Despite the length of the band's existence, sadly, the opportunity to record never presented itself.

Toward the end of Bartell's time with Eddie & the Cascades, he met Jesse Boone, whose musical legacy was already well underway. Boone brought Bartell into his studio with members of his own band, The Astros, to record his first Soul-Po-Tion single "Ooh Baby, I Love You", which was backed with "If I Could Win Your Love". According to Bartell, the single sold quite well regionally, and Hi Records approached Jesse Boone about releasing the single nationally. Boone declined the offer, hoping to draw more attention to his label and boost the momentum of his Soul-Po-Tion label. While sales were apparently good enough to attract a nationally distributed label, this one is quite possibly his most obscure 45.

Capitalizing on the regional success of "Ooh Baby I Love You", Bartell toured around the southeast, often with Jesse Boone & the Astros, playing dates in Florida, Louisiana, Mississippi, Alabama and the Carolinas. Touring, as it can certainly do with young musicians, began to take a toll on Bartell's marriage, which was splitting up by the time he was ready to record his second single. Soul-Po-Tion label mate Freddie Wilson, following his own debut single "What Would It Be Like", had written a new song, which Jesse Boone listened to with Bartell in mind. "Top Going Up, Bottom Going Down" was a song that fit very well with what Bartell was feeling at the time, so Boone put him in the studio with Soul-Po-Tion's house band to record Wilson's composition. Where Freddie Wilson's style was very much from the mould of James Brown, Bartell gave it a more personal touch. That said, Bartell admits that the single's flip side "Johnny and John" was basically a blatant attempt to cash in on the success and sound of Johnnie Taylor, particularly through the use of reverb and echo effects.

Playing on the "Top Going Down…" session were O.C. Glaydens (a.k.a. A.C. Raven, a.k.a. O.C. the Wildman) on guitar, Johnny Badden on bass, Bruce Jones on saxophone, and a fella with the last name of Caldwell on drums. Nathan doesn't remember Mr. Caldwell's first name, but if he was Boone's first call drummer for Soul-Po-Tion recording sessions, then this is a man who clearly needs more attention. Even some of the less significant Soul-Po-Tion singles some top shelf drumming.

As Bartell remembers, the Freddie Wilson song was written specifically for Bartell to record. This indeed may be the case, but it is also possible that Freddie Wilson presented the demo to Boone for himself. What exactly happened next is something of a mystery. Either Boone specifically wanted the song to be recorded by Bartell, or Bartell's 45 came out before Wilson tried to do a polished version beyond his original rough demo recording. No matter how exactly the series of events transpired, Boone clearly did not want the two versions competing for sales against each other, much less on his own record label. Either theory is plausible. Regardless, Nathan Bartell's classic 45 emerged from the small label in Albany showing exponentially more style and musicianship than his debut.

Back to 1975 now…. While Bartell continued the southeastern club circuit, Jesse Boone was setting up a new record label, Albradella. The label kicked off with a couple of singles from Florida artist Chuck Roberson, but Bartell came back in 1976 with his new band, The Shandells, to record the "Moving On" single, with the b-side, "Sitting Alone". "Moving On" is a driving up-tempo funky soul dancer, with a deep ballad on the flip featuring Melvin Roberts on lead vocals. One more single was released on the Albradella label in 1979, "That's My Girl" parts 1 and 2 and "Someone Like You" b/w "Running Through the Night".

For a good part of the early 1980s, The Shandells worked both on their own, and backing other musicians on tour, such as Z.Z. Hill while he toured for his 1982 album "Down Home". The work with Z.Z. Hill put Bartell in touch with Tommy Cough of Malaco, who Bartell cites as an important mentor and influence in aspects of his career ever since. This influence has had no greater impact than in helping Bartell start up his own label, Eureka Records, an endeavor which he undertook in 1985 and continues to operate today.

Eureka was started when Bartell had approached Jesse Boone with the idea of recording in a new studio rather than Boone's own studio. Boone was not not keen on releasing recordings on his labels which were not produced in house, which is understandable when you own the studio and the label. So, Bartell and his band went to Sunbelt Sound Studios and began to record songs for an album which was to be titled "Let Me Love You". It seems that nine songs were cut in 1987 for this project. Unable to take them back to Albradella, Bartell started his own Eureka Records and published his songs under his own Co-Rey Music. Of the nine songs recorded, only four would actually see their eventual release on vinyl, as two 7" singles. But even with the Eureka label off the ground, Bartell did not sever his friendship or business ties with Jesse Boone.

By 1987, the Soul-Po-Tion and Albradella labels were both out of business, for the most part. Boone set up a new but short-lived venture called Vanity Records, which seems to have been for the express purpose of putting together one last project with Nathan Bartell. This is how Bartell's only R&B album was released. There was, however, one slight problem. Bartell's name is nowhere on it. Instead, Boone named the artist Timothy Gaye. The exact reason for this is still unknown though Bartell casually dismissed this decision as "one of Jesse's marketing ploys". The album is comprised of songs written by Boone, Roshell Anderson, Homer Chambers, a version of Eddie Floyd's "Knock On Wood" and a track written by Bartell's brother Keith, who also handles lead vocals on the song "Million Dollar Baby". The Jesse Boone-penned "If I Ever Fall In Love Again" b/w "Knock On Wood" was released as the only single from the album, which is slightly ironic since "Giving Good Loving" is easily the strongest track on the album.. One last single on the Vanity label followed the album, with Bartell (under his own name again) providing the song "Someone Like You" but sharing space with Chuck Roberson's "I Feel It Coming" on the flip side.

Bartell continued performing in night clubs, but not traveling as much, when a fateful turn ended his secular music career. Bartell went through a series of seemingly random religious encounters, the death of his 19 year old son who was coming home from his first year of college, and a collapsed lung. In 1991 Bartell was hospitalized with a recurrence of his lung ailment. While in the hospital, Bartell became born again and cites his acceptance of Jesus as what finally healed him for good. During this time, he also endured the death of his youngest son, who died at the age of 17. Bartell prayed to God that if he could make it through all of these events, he would never sing R&B music again. Music was still what Bartell wanted to do with his life, however, and formed a Gospel group called Nathan Bartell & Reality. Crossing the bridge between the traditional Gospel quartet style and a more contemporary sound, Reality has recorded three albums since 1995, and all on his own Eureka label and is still performing at Gospel events in Southern Georgia today.

We are delighted to present a raw, young talent from Copenhagen - the city of fairy tales. Indeed, Parks at Night, the debut album from 17 years old Teis Ortved, could very easily provide the soundtrack for a recently unearthed Hans Christian Anderson story. In fourteen moves, the devoted multi-instrumentalist tells us the tale of his relatively short journey so far with confidence that belies his age. There's no ego or showboating here as this modest musician brings together seemingly disparate technologies with apparent ease, marrying sequenced beats and plaintive pianos overlaid by ethereal vocals that take his very special music somewhere other-worldly.

To fully appreciate Teis' universe we need to dip a toe into his upbringing, his wonder years and the family unit that has had so much influence on his fascinating musical output. Both his father and mother are musicians - the former having previously been a drummer in a danish band, and almost from birth, Teis would sleep backstage at his parents shows. Teis has been immersed in music his whole life - even his sister is a renowned violinist. There was no escape from the arts in the Ortved household, nor was there been any desire to do so, which probably explains the sense of calmness in Teis' productions. His music feels like a pleasure; a natural outlet; one that's never been stifled and always been encouraged.

"I'd mostly play piano but also drums and the occasional bass. The saxophone came in a bit later when I was 12 or 13, around the time I began to get into jazz-territory types of stuff." Teis Ortved

Like any good tale, Parks At Night opens with a beguiling introduction that draws you in. I Don't Like Dreaming was written when Teis was holed up in a cabin in the woods, with most of the sounds coming from a single keyboard. The physical and musical restrictions allowed him to experiment and broaden his use of the sax and vocoder to spine tingling effect. An effect that follows through into the beat laden Moments, where sprightly piano, brass and those mesmeric wordless vocals trade places before surrendering themselves to a lush synthesised finale. The vocal layers take his music somewhere ethereal throughout, add something softer to counterbalance the programmed beats, although nothing ever feels at odds with anything else. This communication between generations of instrumentation is akin to the musical communication within Teis' home between parents and child. About Right continues the instrumental hip hop aesthetic with its steady drum patterns, before Relative provides an unexpected plot twist as pads scatter and fracture and Teis picks up the pace before once again immersing us in lashings of luxurious keys and brass. Sequencers feel like an extension of his musicianship rather than something bolted on to traditional instrumentation. They have their own solos as well as the "live" instruments and pass in and out of the conversation that is 'jazz'. As we reach the title piece, a key moment in any story, more space is opened up for the musician's various voices to tell their part, until Later That Night the sound of the syncopated drum returns to duet with swirling horns and take us almost to the midpoint of the story. Damn, despite its assertive title, is a tender moment that moves us on neatly to Dreamfunk, an assured interlude at the centre of this esoteric LP. After a vibraphonic introduction, Cliff continues the confident tone, with brass and piano maintaining their beguiling exchange, whereas Silence lets the piano shine against deft drums and lush strings. Those piano keys gather pace and confidence during the dramatic Aight, before settling down to Leave with saxophones, xylophones and violins combining to take us somewhere quite emotional and climactic. The story's not quite over there though as Shade provides the dark side of its predecessor with a similar refrain offering a perhaps more tenebrous ending to this tale. And like all good tales, it needs an epilogue - in this case an Aaaaaoutro - where Teis' physical voice has the final word.

Hot Sauces Records is a newborn wax-only label based in Barcelona. For the first of this series, the crew opted for a bahamically psychoactive cocktail made up of mysterious Caribbean flavours…

We recommend extreme care when consuming this record. If you happen to experience any symptoms of gastric distress, dizziness, nausea, or shortness of breath after consumption, please contact your family doctor.

From the West Indies to Catalunya, with a quick halt in the Low Countries, The Caribbean Hot Sauces are coming in hot to your plate and record player!

We are happy to introduce you to a one hour mix of Brasilian Favela Funk Music.
Craig Ouar, french DJ based in Brasil put together an eclectic selection of the styles you would get to hear at the parties called “Baile Funk”. From the late 80’s « Volt Mix », to the « charm » style, the classic « funk paredao » or the « corredor » (corridor). That style was all about the DJ re-enacting Moses’ partition of the Red Sea : dividing the crowd in two and leaving both sides called A and B fight or dance together …

The genre was super inspired by the american Freestyle and Miami bass era, tons of similar samples were used, and played live on MPC by the Brasilian MC’s.
The vast majority of the records you find in Brazil were pressed as live recording and mastering was very optional…

Let’s dive into one hour of ruff classics and deep Braz’Funks records!



Pic by Allan Weber

Artwork by Charlotte Saysset

DNA Records are proud to present 'Bulang Beauty' by Puman, a Chinese Reggae release, mixed by UK reggae legend Nick Mannaseh, with a spaced-out Dub remix on the flip by DJ DSK. Experience a very unique sound infusion of Reggae and the ethnic tribes of Yunnan Province, China.

LTD 300 Copies first original press ever. Village Cuts are a dynamic DJ / Producer duo from London, showcasing music from Africa, Latin America & the Caribbean, through the lens of UK club culture.
For their debut on Galletas Calientes Records, they've produced an electro-soukous double-sider alongside Colombian Champeta legend Louis Towers and British guitar virtuoso Patrick McMahon aka Mahon Sounds. Although never having set foot on Champeta's promised land (that is Colombia), the duo managed to get a pertinent grasp at the genre, adding most of the elements to their own Afrobass flavor and UK club production technique. West African beats, "caidas" (drops) and "despeluques" (frenzy) along with a crazy rhythmical use of the Yamaha SK5's most distinguished samples such as the "perreo" (synthesized barking sound) - all set up for a heavy tropical madness!
While "Vengo Ganao" and Towers' Afro-Colombian vocals call for a sexy "baile amasizado" on a sunny beach in front of a "pico" style Caribbean Sound-System in Barranquilla, "Cheza" is an uptempo instrumental, 80s style bass-heavy Congolese soukous dancefloor joint, where Patrick McMahon shows his outrageous guitar skills.

The Texan-native, multi-instrumentalist and producer - Joe Corrales Jr – AKA Yppah has long been considered a top-tier artist by the industry and fans alike, owing to his releases on the iconic and respected independent labels Ninja Tune and Counter Records. His work has been used in high profile TV syncs such as ‘CSI’ and ‘House’ as well as video games such as ‘Alone In The Dark’.

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

+Bonus 7" Single!
When it comes to the -rarest of the rare- german Jazz albums, Fitz Gore & The Talismen is in the TOP 5 for sure. Gore, born and raised in Jamaica, came to Europe in the early 1950s. He was completely self-taught on the tenor saxophone and his admiration for the music of John Coltrane and Sonny Rollins is more than obvious. In the 1960s he travelled to various cities in Europe with the aim to play with fellow Jazz musicians. Those years surely helped him to shape his unique spiritual ideas in music. Back in Germany in 1975, he formed his own group named "The Talismen" and recorded his first album ("Soundnitia") from which "Song for my Father" and "Mariella' Amor" are taken. The following year he released "Soundmagnificat" and in 1980 his final album, "Soundmusication". Two years before, in 1978, he spent time in Tenerife where he recorded his arguably finest composition, simply titled "Gisela (Lion Rock)". It came out on 45 rpm single housed in an extremely cool picture sleeve and today it is without question one of the rarest and most sought after german Jazz 45s. All three albums as well as the 45 were released on his own, private label ("GorBra Records") which he ran together with his wife Gisela.

To celebrate 10 years of this great album INFRACom! is delighted to announce a limited pressing (ltd. editon 500 copies) of Mop Mop ́s third long player. For the first time on vinyl ! Back in 2010 INFRACom! could only release a CD version. For this vinyl release the original studio masters have been transferred to "reel tape" and received a special vinyl mastering for a great analog sound. The original artwork has been transferred to the vinyl version that comes in a gatefold sleeve.

After the highly acclaimed "Kiss Of Kali" Mop Mop are back with Ritual Of The Savage, the third studio album, written, arranged and produced by Andrea Benini. Ritual Of The Savage contains twelve tracks of pure hypnotic Jazz, spiritual flavours, exotic Funk and Soul music influenced by Latin and African beats.

Collaborations in the album include the amazing UK vocalist Miss Baby Sol (backing vocaling for the likes of Amy Winehouse, Joss Stone, Paloma Faith, Nate James), veteran Jazz crooner Alan Farrington, Down Beat critics poll winner Gianluca Petrella on trombone, the Italian vibraphone Star Pasquale Mirra, the Voodoo sound of Guglielmo Pagnozzi on clarinette and alto sax, percussionist Danilo Mineo and Andrea Benini's co-writer and arranger Alex Trebo on piano and keyboards.

Ritual Of The Savage is an album with the philosophy of a soundtrack where the main character is a modern Savage who is searching for a perfect land where music is the only law. He starts his journey after "The Return Of The King", the album's opening track, going to an unknown "Destination" where Jazz meets Funk.
Will the Savage be able to reach his goal? Nobody knows. But as the last album's track "Aria" suggests he will land in a space where everything is harmonious.

The result is surely mindblowing with a flowing tracklist which sequels as if to tell a story. This album is made for the selective and open mainded music heads and dj's; vintage elements are mixed through a modern way of production and beats are generated by acoustic drums and analog drum machines. As Andrea Benini suggests on "Ritual Of The Savage"'s lyrics : "...Step back, burn all your money, give up to your power silks and chase real pleasure".

Doktor Normal, the latest addition to Estonia's small yet buzzing funk scene backs its nerd hop/novelty rap with MPC beats and synths. The first compositions date back to 2008, original inspiration lies in the TV series Garth Marenghi's Darkplace. Without any prior knowledge of producing hip-hop, the starting point was humor. After a 10-year hiatus, Doktor Normal got around the record an album.

"World of Ham" is Doktor Normal's début LP released on vinyl (250 copies) and digitally. The 10-track album serves as a fine example of contemporary retro-hop and electro funk with an unusual additude. Child-like creativity, pure and unfiltered flow is further exemplified by the LP cover image, and texts filled purposely with grammatic errors. The essential mantra of Doktor Normal is: make your own rules!

Swaying & icy electronic dub compilation straight from DELODIO STUDIO SESSIONS.
Programmed and produced by F.M. Cut and compiled by Fa_Fane
Transparent splattered record in a plastic bag with info sheet.

Produced by Leon Michels. Features vocal and guitar by Kevin martin of Brainstory. When Lizette and Quevin visited Leon Michels at his home in upstate New York an impromptu recording session gave birth to 'Grow Forever', the first ever song from this top-notch duo.

Quevin (aka Kevin Martin) is one third of Brainstory and the man behind the honeyed voice that blessed their hit singles Dead End and Mnemophobia. Lizette is a talented ceramics artist whose voice has a certain 'je ne sais quoi' that is reminiscent of records by Little Ann and Rosie and The Originals. 'Grow Forever' is a mid tempo ballad that will have most collectors buying doubles. Lizette & Quevin trade lines over beautiful chords, fluttering guitar, and crushing drums.

The B Side is an instrumental of the track entitled 'Now It's Your Turn To Sing' that we will be using for a talent contest of sorts. We will be inviting people to write and sing their own songs over the track and sent them into us via Youtube, the three best versions will win Big Crown prizes.

First vinyl issue of these raw experimental dub collaborations between Muslimgauze and The Rootsman, written, recorded and mixed at the Third Eye Studio, Bradford, UK between 1997 and 1998. Originally released on CD by Russian label Aquarelist.

With the release of fourth album Crown Posada, Smoove & Turrell cement their position as one of the UK's most exceptional soul acts with their innate ability to deliver hard times social commentary in a dancefloor friendly medium. Proudly working class as a band - this album celebrates love, life, politics and the lows and the highs of growing up and raising families in the North East of England.

Gritty and powerful, the band make no attempt to sound or look like anyone else - not for them the sharp suits and trumpet twirls of some of their peers. Instead you get a wildly talented and vital crew of larger than life Geordie lads taking their rightful place on the international soul scene having already become figureheads within the UK.

Wah Wah 45's are proud to present "Cages", the third album from southern soul boys The Milk. Having released "Favourite Worry", their critically acclaimed sophomore album and first for independent label Wah Wah 45's, in 2015, the band are able to trace the seeds of the latest LP back to their recording sessions with producer Paul Butler (Andrew Bird, Michael Kiwanuka, Nick Waterhouse) almost five years ago, blending elements of soul, funk and rock together to create their own unique sound, inspired by some of their favourite artists such as Bill Withers, Traffic and the Isley Brothers.

"I can't wait to hear you write songs that look outward" - these words from Paul subconsciously had a lasting impression on the band. To atone for more inward-looking sentiments on "Favourite Worry", there had to be a shift in perspective. During the formative stages of the new album The Milk started pursuing a Nichiren Buddhist practice. The values and principles they discovered during this have informed every aspect of the record.

"We wanted to write an album that looked outside of the walls, to people, society and the environment - embracing real freedom in musical expression by utilising more complex rhythmic structures, extended harmony and dissonance to paint an original and authentic-sounding record" explains If their debut, "Tales from the Thames Delta", was inspired by hedonism and "Favourite Worry" by introspection, "Cages" is an impassioned conversation with the world. Racism and division are all on the rise. British society is being pulled apart by forces that seek to divide us and rip the compassion and empathy from our minds and hearts. We have become distracted from the more urgent challenges of boundless consumerism, climate change, and the mental health emergency reeking havoc on our streets.

We are the birds in the cage, tied by cheap thrills and fake news to a limited world vision that is no longer fit for purpose. The good news? We can all choose to challenge this view. "Cages" is equal parts the dark black shadow of how far we've fallen and the blazing sunlight whose rays of hope can still change the world. Four life-long friends, Ricky Nunn (vocals), Mitch Ayling (drums) Luke Ayling (bass) and Dan Le Gresley (guitar) formed their first band when they were still at school in Essex, playing countless working men's clubs, and finally became The Milk.

The band have built up a following of dedicated fans around the UK, which has resulted in them selling out venues such as Scala, Koko and Shepherds Bush Empire. Keen to get back on the road where they feel most at home and where the guys really shine, the band offer up a compelling set of diverse styles, matched with an ability to effortlessly intertwine songs together, gives their music a continuous feel to it. Since signing to Wah Wah 45's, the band released their second album "Favourite Worry", which became one of BBC 6 Music's albums of the year, sold out London's Union Chapel, toured with the Fun Lovin' Criminals and completed a sell-out UK tour climaxing at London's KOKO in Camden town. ... More live dates coming very soon!

This album is a celebration of benga and rumba music recorded in Nairobi, Kenya in the early 1980s. The five Kenyan groups chosen all feature "Boys" in their band names in one form or another; a common theme in Kenyan music at that time.

The tracks selected were all released as 7" vinyl singles on the Boxer, Lulus and Hit Parade labels, which were all part of Babu Shah's Audio Productions stable. This is the first time they have been released outside of Kenya.

No Wahala Sounds are proud to bring you these lost musical gems and would like to thank Doug Paterson for digital clean up from the original vinyl.

Due for release on 09 April 2021. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music, DJ Ritu from Resonance FM/SOAS Radio, Roger Hill from BBC Merseyside, Steve Barker from BBC Lancashire, and DJ Debbie Golt from Resonance FM.

What's the equation that reveals your love? On the latest single from Alba & The Mighty Lions, the question is posed and answered in the form of a beautiful soul slow-roller. Alba Ponce de León's charming word play, both mathematically-minded and straight from the heart, is calculated as a sum of English and Español, and multiplied by the suave accompaniment of a Mighty Lions' backing track that cruises the border of lowrider soul and enchanted exotica. Adding it all up, you may find an answer to this magical schoolyard test, depending on how the numbers align for you. A witty and passionate take on a classic formula, "Matemática" is a deep and sweet flow, a slow dance mood for the heads and lovers alike.