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(Joe Claussell's remix)

Due to the short pressing of the last release here's another chance to get the A side + an unreleased mix on the B side

2x12" Marbled Vinyl

„Room With A View“ sees Rone returning to his musical roots and the set-up of his early albums: purely electronic, solitarily conceived without any musical collaborators. At the same time he was able to leave his comfort zone through a new kind of artistic liaison. The album was produced alongside a live show commissioned by the Théâtre du Châtelet in Paris and developed together with choreography collective (LA) HORDE and 20 dancers of the Ballet National de Marseille. This new kind of collaborative approach allowed Rone to produce his most sincere and far-reaching music in some time. Inspired by discussions of collapsologie and climate change, „Room With A View“ offers food for thought on how to deal with one of the most pressing issues of humanity.

The Fenchman manages to let his trademark sound shine in a new light, pleasing early fans as well as every electronica enthusiast. Typically melodic beats like „Ginkgo Biloba“ nestle against tracks that exhibit classic influences from Boards of Canada („La Marbrerie“) to SAW-era Aphex Twin („Raverie“), euphoric dancefloor rhythms sit next to contemplative synth work. Tracks like „Sophora Japonica“ showcase Rone’s mastership in atmosphere, which sometimes requires no drums at all. Elsewhere, Rone is clearly reviving the club-centric vibe of „Tohu Bohu“ and experimenting with elements of dub. It all makes for and adventurous and rewarding listen.

Most importantly, Rone is redefining the notion of „organic“ in electronic music through use of field and voice recordings. Be it his own child chattering, Aurelien Barrau or Alain Damasio debating, or the dance troupe rehearsing and discussing the show. "Because the writing process of the album was very machine focused, it seemed appropriate to feed back a human touch into the music and to still have bodies involved". Thus „Esperanza“ uses the steps of the dancers as a rhythm to start a new track, while in „Human“ they serve as a choir. This idea of extended human collaboration becomes apparent also on the album cover.

Ambassador's Reception head-honcho Stevie Kotey has started sorting out his archives. Relaunching the label and assuming the pseudonym Steamy Windows he's been dusting off and souping up crowd-pleasing cuts by the score. The first fruits of this labour to be made public will be One Of Those Nights – a collaboration with cool Californian dude, Woolfy – King Of The Sun-Baked Balearic Boogie. The two of them turning in a breathless bedroom berserka of balmy, heat-stroked, blue-eyed electro street soul – suitable for fans of Apiento, Harriett Brown and Lexx' Cosmic Shift long-player. Its bass bumping bionically, keys and guitar blown in like a breeze.

Percussion-like seashells gently washed and made to shine by the tide. While Woolfy's whispers are the male equivalent of Brenda Ray's intimate coo. I've been privy to six mixes that range from a beatless ambient calm – showing off the electric axe work and celestial synthetic flute – to bottom-end bolstered dub. L.U.C.A's Quirky Version puts the beat right up front – big snares behind treated vocal fragments. Gating everything for a trippy, serenely stoned glide. Taken altogether this sextet forms a kind of suite, finally refocusing on the love song at its root.

Dr.Rob (Ban Ban Ton Ton)


b 02: One of Those Nights (Beach Hotdog) feat. Woolfy
c 03: One of Those Nights (No Vox) feat. Woolfy
d 04: One of Those Nights (L.u.c.a Quirky Version) [feat. Woolfy & L.u.c.a]
[e] 05: One of Those Nights (Green Mix) [feat. Woolfy]
[feat. Woolfy]

Some Crate-digging Compilations Are Often The Result Of Someone Hand-picking Their Choice Favourites From Another Country's Musical History, Perhaps Unaware Or Uninvolved With Its Cultural Lineage In The Process. On Soundway's Latest Release - A Treasure Trove Of Synth Jams, Pop, Samba Boogie, Balearic And Electro From 1980 & '90s Brazil - The Tracks Are Picked By Millos Kaiser, One Half Of The Brazilian Duo Selvagem, Who Are At The Helm Of Throwing Some Of The Country's Best Dance Parties. It's A Rare Compilation That Offers Brazilian Music Actually Picked By A Brazilian.
Whilst Names Such As Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies And Batista Junior May Not Be Household Names, They Tell An Untold, Yet Rich And Important Part Of Musical History In Brazil. The Release Also Covers A Decade That Has Been Intentionally Forgotten And Brushed Aside By Many In The Country.
Onda De Amor Is A Release That Is Loaded With Smooth Grooves, Bubbling Bass, Glistening Synthesisers, Funk Strutting Guitar Lines And Sheen Of Production That Undeniably Marks It Of Its Time. For Kaiser This Compilation Is About Reintroducing Music During A Period Of Reappraisal, Catching A New Wave And Hoping Contemporary Listeners Will Ride It With Him. the Idea Is To Do Justice To These Songs. Songs That Combine All The Right Ingredients That Should Have Put Them On
Radio Playlists When I Was Growing Up Or At Least In The Cases Of More Adventurous Djs'.
Millos Kaiser Is A Dj, Digger, Vinyl Junkie/dealer Born In Rio De
Janeiro And Living In São Paulo For The Past 8 Years. He Launched The Dance Party/club Night Selvagem With Partner Trepanado In 2010, Bringing Thousands Of Dancers One Sunday A Month To A Public Square In The Heart Of São Paulo.

For the first release of Cartulis Music new Sublabel DEL we have a split EP that swings between, downtempo grooves and breakbeat rhythms, On one side find the Russian artist Low Tape and on the other Unai Trotti's new alias debut, DJ Mostoles.A

Japanese veteran dj & producer “kza”(half of dj duo “force of nature”) have released his first solo album in 2009 on only cd.

kza is one of best dj in the modern disco/house scene in japan and also well known as vinyl digger.
this album was made with his knowledge from his big collection of vinyl.

we’re listening to this album at studio mule and feeling we should release this album on vinyl.

finally we are going to release this epic modern disco album on 2lp.

The 3rd part (of 4) collating the music of International Noise Orchestra, Marching In Time 3 again highlights the breath of music this mainly studio project presented between 1987 and 1991.

Starting with The Atlantic Swimmer, Richard Strange leads with his ubiquitous punk poet delivery across pure late 80s Balearics. Out on his own, sport or ambition, all atop strident guitar, one drop; funk drum and bass interplay.

The global music anthem Far Away is the first of 3 tracks by alias Internationales Gerauschorchester. Flowing like street soul remixes of Nusrat Fateh Ali Khan, as Rama Mani's vocals envelop and rise above the syncopation meets world love.

On the flip, the band shows their rock roots of Gimme More Lovin'. The vocal sees Strange in tandem with founders the Gemini Brothers behind the desk, as Ulrich on keys and Wolfgang on guitar let it all swing.

Finally, when you have a floating ensemble featuring master percussionists from the Indian sub-continent in Ramesh Shotham, R. A. Rajagopal, T. A. S. Man and T. N. Shashikumar then I Speak Your Body Electric with it's hazy, cosmic mid-tempo lure and the closing instrumental of eastern melodics of Veena Via Video, all ends in perfection.

Emotional Rescue presents the 2nd EP (of 4) highlighting the music of International Noise Orchestra. Centered around Ulrich Hornberg and Wolfgang Sperner, aka producers Gemini Brothers, this world "supergroup" released 5 LPs and 2 EPs in just 4 years.

Again showcasing their rhythm, calm and power, a metaphysical, real sensitivity and intellectualism, all wrapped around the groove. Starting with their own instrumental remix of Gimme Move Lovin', this little known 12" B side has long been a play for "heads" and allows the band's Pop Balearic, esoteric meets electronics to shine, layering Fairlight samples over a funky bass 4/4 around some '88 Amnesia pool dive.

Next the anthem, Yeh Naina Yaad Hai, as Asha Bhosle's beautiful vocals from the Manzil Manzil soundtrack, are mixed with drum machines to create a dream Bollywood meeting.

Again side two features 3 songs and starts like EP 1 with Glynnis Thomas (Savage Progress) vocals, now atop a sax laden Synth Pop brain, mind and body dance. Alias, Internationales Gerauschorchester offer wonderful jazz leanings for A Lulu A Bobe Danz, where the "bop" takes a leftfield embrace. To close then, Mr Richard Strange returns, invoking The Driving Force, returning to the idiosyncratic, percussive Earthbeat. Listen!

Hear & Now’s 2018 debut album Aurora Baleare was undoubtedly one of the most magical full-length excursions to appear on Claremont 56 to date; a drowsy, mood-enhancing masterpiece full to bursting with tactile grooves, blissful guitar motifs, dreamy aural textures and seductive, slow-burn melodies. The culmination of two years of work by longtime friends Ricky L and Marco Radicioni – a pair of experienced deep house producers whose solo careers stretch back to the 1990s – the album was as finely crafted as it was musically stunning.

Two years on, the pair return to Claremont 56 with the hotly anticipated follow-up, Alba Sol, a similarly seductive and sun-kissed set that is every bit as beguiling as its lauded predecessor. Once again built around the pair’s trademark blend of colourful synthesizer melodies, ear-catching improvised guitar motifs, soft-touch grooves, enveloping chords and fireside-warm bass, the set’s eight tracks are vivid, vibrant and as memorable as watching the sun rise over the Mediterranean or Adriatic seas. This time round, listeners can expect a few more nods towards the kind of glassy-eyed ‘dream house’ that was once one of Italian dance music’s greatest exports – think Don Carlos, Sueno Latino, Keytronics Ensemble etc. – and synthesizer-heavy 1980s new age ambience, though the duo’s trademark sonic template is evident throughout.

These influences can clearly be heard on “Larus”, where jangling piano riffs, mid-80s new age synths and cascading David Gilmour style guitar solos rise above thickset chords and sparse beats, the eyes-closed, arpeggio-driven goodness of “Acqua Tronica” – which also features some of Marco’s funkiest guitar playing to date – and the head-nodding haziness of “Danza Delle Onde”. They’re there, too, within the mid-tempo rush of “Litorale”, an emotive and life-affirming mixture of metronomic beats, fluid piano solos, retro-futurist synths, locked-in bass and pads so sumptuous you almost want to reach out and grab them. While the subtle evolution of the duo’s sound is evident throughout, Alba Sol also contains a swathe of tracks that echo the slow-motion hedonism of their earlier work. Closing cut “Pioggia Sil Mare”, for example, is a beguiling and brilliant foray into kaleidoscopic ambient house territory rich in in slowly unfurling musical motifs, while “Polvese” chugs along on waves of stretched-out electric guitar notes, echoing percussion hits and the sort of stoned bass that was such a feature of Aurora Baleare.

Then there’s the album-opening title track, a gloriously epic, joyously blissful number that first wowed listeners on the recent Claremont Editions One compilation and already feels like a downtempo classic. It brilliantly sets the tone for a sophomore set that’s arguably even more wonderful than its stunning predecessor.

Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.

Stormfront
Hypernatural’s single Stormfront is a depth-charged house-tempo burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios, raindance incantation and weighty drops, it swells like moody clouds on the horizon, and releases tension like the first rain of a summer storm.

Bedouin rework tracks by Ukraine’s DakhaBrakha for the latest release on Human By Default.

DakhaBrakha is a quartet from Kyiv, Ukraine, experimenting with Ukrainian folk music since the group's inception in 2004, combining an array of instruments from around the world with powerful and
uncompromising vocal performances. For the latest release on their ever-impressive Human By Default imprint, label heads Bedouin rework four tracks from DakhaBrakha’s catalogue, fusing the captivating vocals and instrumentation of the quartet with their pitch-perfect production.

Leading the A-side is their reinterpretation of ‘Salgir Boyu’, with shuffling percussion and organic loops providing the backdrop for stunning elements of the original to shine. The rework of ‘A Doshchuk Nakrapaye’ follows, with DakhaBrakha’s vocals fading in and out of the background as Bedouin’s gentle synthesis and evolving drums carry the track. On the flip, ‘Svyryd’ sees hypnotic drones and bright shakers evolve alongside a rolling bassline before closer ‘Yahudky’ seeks more electronic territories, bringing tense strings and unfurling synths together to see out the release.

Rising Irish star SHEE makes his debut on House of Disco with a diverse four tracker full of bright ideas, multiple genres and unquestionable talent.

On the A side ‘Our Love’ takes the first spot, an acid-laden deep house cut with enchanting vocal wanderings, before ‘Forgotten’ lets loose, a swirling saxophone disco house heater, shaken not stirred.

Flip it over to find ‘Jiraya’ bringing a touch of trance to proceedings, as arps upon arps suck you in. Finally, ‘Funk, Nah’ comes full circle unleashing the acid once again but this time with a more late night heads down tinge.

First Word Records is very pleased to welcome back Quiet Dawn with a brand new EP entitled 'Movements'.

Parisian multi-instrumentalist Will Galland has been with First Word since late 2014, providing several releases for us over the years, from his acclaimed debut album 'The First Day' to his last EP release, the organic opus 'Human Being - The Short Story Of The Reed'. Collaborations have included Makaya McCraven, Oddisee, Miles Bonny and First Word crew such as Eric Lau, Bastien Keb and Sarah Williams White, who he teamed up with on his classic remix of the track 'Hum' and most recently on the track 'One By One' which appeared on the compilation EP 'A Family Affair' at the start of 2021.

For his latest project, 'Movements' sits firmly in the realms of broken beat, after being heavily inspired at First Word's infamous 14th birthday party at Total Refreshment Centre, where he played alongside label-mates such as Kaidi Tatham and Children of Zeus. This delectable six-track EP encompasses a series of deeply percussive grooves and squelchy synths. This is a predominantly instrumental affair, though does feature the supremely soulful vocals of Oliver Night on the track 'Change Must Come', following on from Oliver's work with the CoOp Presents crew amongst others.

Quiet Dawn says "after the birth of my son, I took the time to get back to making new music.

And when I started to work on new tracks, I wanted to compose something without concept, unlike my previous records, just because time is precious and I wanted to find pleasure again when I composeand not be fixed to a concept, or a story.



These new tracks are instinctive; made with my main instruments, rhodes & piano, synths, percussions, vocals, bass and guitars. They are naturally oriented towards my big musical crush, BRUK, along with different rhythms, vibes and grooves. For me, it's definitely a record for the dancers. For this reason, the new EP is called 'Movements'. Aside from the dancer's element, the title relates to everything that is happening in the world at the moment, working on this record over the pandemic. Affecting people in all countries, friendship, mutual aid, solidarity and movements in many instances are very important to me, my family and my musical family, First Word.'



The influences on this particular EP come largely from the West London music scene; DKD, Bugz, Neon Phusion, 2000Black, Domu, IG Culture, Jazztronik, MdCL, the First Word fam and many many more artists. There are also heavy vibes inspired by 70's jazz, funk, disco, latin & african music."

'Movements' by Quiet Dawn is released on First Word Records on vinyl & digital in late 2021.

Just south of the roundabout, is a pulsing sign of life.
The well-spaced sunlit room with its polished concrete floors and olive-green banquettes, thrums with a certain optimism.
It's a slap on the back. It's a splash of cold water on the cheeks. It's a crushing bear hug of a welcome.

LIMITED EDITION VINYL 12" ON YELLOW VINYL.

2022 Repress with new Label Design.
Illegal Jazz Vol. 1 was the start of the cooperation between Toy Tonics / Kryptox Head Kapote & Delfonic / wordandsound. Not only this jazzy serie is going on and on, they even have a Club Night now with live Bands & DJs called "Kryptox Sessions" in Berlin!
Watch out for these guys!

"Ostriconi" is the first full length album from French multi-instrumentalist Jean Dasso, betterknown as Yeahman, and its release at the start of 2021 on New York based WonderwheelRecordings is guaranteed to kick the new year off with dreamlike finesse.The album is named for the Ostriconi valley in Corsica, France - and across it's 9 mellifluoustracks, listeners are transported to the lush and picturesque banks of the valley's eponymousriver. The at times surreal beauty and tranquility of the region is sonically recreated by Yeahmanand his collaborators on "Ostriconi", who lead us on a melancholic journey down from themystical mountains to the vibrant sea, giving us a sense of a diverse and unfurling world at ourfeet.The recording and production of the album were the product of Dasso's singular artistic vision,and give musical form to artistic alliances he built between Toulouse, Dakar, Napoli andMarseille. Yeahman shares his first opus as an invitation of sorts for us to reunite in a sleepyworld, one where we all yet long for the flames of dancing to reignite. "Ostriconi" bids everyoneto dream of an uplifting future, and arouses that sleeping hope for such that lives in us all.The languidly beautiful "Deelalhli" grounds the start of journey in rhythm and lively melodiesright from the off, setting a tone that is explored across the rest of the album. "Baixi Baixi"follows as an ode to nature before "Soupe Feu" returns us to Yeahman's roots in a percussiveand sample-based dancefloor tune. The lead single "Sakoneta" needs no introduction as itelevates the tempo before "Ouloullou" and "Sueño Contigo" slowly bring us back to earth, apassage that culminates nicely with the introspective and pulsing "GLI-F4". Mina Shankha,Hajna and Yeahman join forces to restyle a Peruvian cumbia classic "Cariñito" before the albumcloses with "Lecce74". Featuring El Buho, this last song is a melancholic ode that returns us toreality and puts a beautiful bow on the electric trip that is "Ostriconi"

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

Volume 4: JAZZ N PALMS is back with another selection of some of the most iconic sunset, poolside sounds to be heard at Pikes Hotel (Ibiza), reworked, retouched and edited for your listening pleasure. A trusted taste, JAZZ N PALMS warms up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes, fusing jazz sartorially with latin, funk, rock and international sounds to be enjoyed under the palms and the sun of the Mediterranean sea.

Reissue number three for Heels & Souls Recordings combines the Balearic bliss of Paprika Soul’s, ‘Come With Me’, with Soft Sugar’s dream house gem ‘Métro’ and an unreleased version of the tripped-out groover ‘Swampin'. A cherry picking of the best of three rare and sought after ‘90s EPs from the minds of High Wycombe’s Alan Barnes, Andrew Spiller and Andrew Hughes.

As anthemic as they get, Paprika Soul's 'Come With Me (Sea Breeze)' is an otherworldly electronic interpretation of Tania Maria’s beloved Brazilian jazz funk classic from '83. Vocalist Sarah Newell's unique delivery combines with a euphoric blend of Barnes’ and Spiller’s crisp drum machine programming and cosmic synthwork. Complete with crashing waves and Balearic birds, it’s a timeless, endorphin-tingling track that feels even more relevant than ever. The A-side also features the brilliant street soul flavoured ‘The Chill’ mix and the ‘Bossa Mix’, the most true in form to the original.

On the flip you’ll find Soft Sugar’s dream house flavoured ‘Métro (Funk Mix)’, Barnes and Andrew Hughes’ homage to time spent cruising the Parisian train system. Barnes’ favourite of their joint-productions, it blends that riviera feel of classic M1 stabs and sweeping pads with a dreamy bassline and stuttering breaks. Flying under the radar at the time, it’s since become hot property for the eagle-eyed digger out there.

Closing out the B, an unreleased, alternate version of Soft Sugar’s slung-back ‘Swampin’ from their Basement Records House Department EP. Mesmerizingly smooth, the 110bpm house-groover busts the brain with wigged out chants and intoxicating arpeggiations.

Fully licensed from Alan Barnes and remastered by Cicely Balston, 20% of profits from Heels & Souls Recordings and Prime Direct Distribution will be donated to Zaatari Radio – a humanitarian collective working with war-affected communities around the world.

DJ Support:

Moxie, Charlie Bones, Jamie Tiller, Millos Kaiser, Mr Mendel, Paula Tape, Raphael Top Secret, Ari Goldman, Joe Delon, Zakia, Invisible City Editions, John Gomez, Lorem Ipsum, Marco Weibel, Mike Who, Xica Soul, Max Essa, Aradea Barandana, Gee Dee, Toshiki Ohta, Moving Still

For the second chapter of his odyssey, we find again Le Commandant Couche Tôt in the middle of the Amazon River, escaping from drones and wildfires in a hovercraft.
Une Histoire d’Amour Brésilienne (A brazilian love story) shares a dystopian vision widely inspired by the environmental issues of 2020 and 2021, which illustrates a form of anxiety toward the future.
Its soundtrack however is purposely the antithesis of the story: a very optimistic tribute to space-disco and brazilian funk. A “good vibe” pill to give hope for a new beginning.

Willie Graf & DJ Pippi drop an EP of muy balear edits.

COLORE VIVO is a concept album with an atypical genesis: the idea was born from a sequence of images, as the soundtrack for a movie (never made) on the exploration of the uses and customs of archaic and mysterious populations. The soundscape he paints shows an extraordinary coherence in this. Bjondo is an artisan, as in the tradition of the great masters of the Italian Mondo Films, and it’s precisely to that manual knowledge, to that exploration and to those sounds that the disc is most recalled. The artist's research and his eclecticism translate into the wise use of rudimentary tools (bamboo, pieces of wood, stones, vases, necklaces and even a sort of self-made berimbau) to obtain unique and unclassifiable exotic sounds. His research on the evocative skills of primordial sounds breaks with the

narrowness of the genre and opens up to total experimentation. Each listening opens the window of imagination on other worlds. A dizzying look at the lost memory that is hidden inside each of us. A continuous (re) discovery!

Synth-buoyant euphoria coming through on the maiden
Coymix release. This 4-tracker from South African producer
Biodive is complex and straight-to-the-point, dreamy yet direct.
A journey into all things blissful. The Halcyon days are not
over.

Long time Is It Balearic collaborator Max Essa brings his usual finesse to the label delivering 2 sublime island grooves.After hearing both tracks the dude that is Eddie C decided he'd be up for remixing both. This heavyweight sound clash 12 is the result.Jigsaw moon is a lively shuffling euro disco groover. Post sunset poolside head nodder. Eddie's remix goes into the realms of acid house to both excite and hypnotise whilst dubbing out the OG version. Jule Y Cnythia is one of those tracks that only comes around so often. Deeply emotional and joyous in equal amounts. Truly Balearic and perfect for an end of night hugfest. Reminiscent of The Cure with a touch of Joy Division maybe. Eddie C turns up the Balearometer to !1 wraps up a draw and lets go.A nod to the pictures of you remix but remaining uniquely IIB. This is a one off 12 grab it quick

180g Vinyl x 300 copies

Coyote drop their 7th album The Mystery Light.A double 12 LP. Copacetic is a mellow disco shuffler. Don’t Run It Extra Ordinary is a percussive soft acid groove lamenting the material world. Woosh is Coyotes personal understated reflective tribute to Pete Woosh. Simpsons Sky has touches of Krautrocker about it. Fridays Child hits peak Balearic retro poolside euro chug. Mint Tea is the post breakfast view over the shimmering ocean. Bougainvillea is a moment of calm. Cami de Sa Veleta is an homage to a fav Ibiza road trip for lunch and music. The Outsider is an uplifting reminder to all that you don’t have to play the game and to always remember the Guv

Here at Faze Action HQ we have dived deep into the vaults to unearth some of our more Balearic sounds, with lost B sides and overlooked 2nd tracks. Showcasing the warmer and more melodic side to the label, we’ve included some chilled, poolside dance moments to accompany the summer ahead. Starting off with Faze Action and Zeke Manyika's “Chiiko”, which is rich in melody, as acoustic guitars and sweeping string arrangements fuse with Zeke's stunning vocal, sung in his native Shona. From here we move onto some Mediterranean Jazz Funk Vibes courtesy of Rudy's Midnight Machine, as the compilation criss crosses between more poolside dance floor friendly tracks, like Micky Milan's "C'est Une Bombe”, and more intimate and laid back sunset moments, such as the unreleased extended version of “Wind chimes", which appears on this compilation for the first time. We hope you enjoy the selection and the summer vibes.

Melodies seem to sprout from the hands of Reinhard Vanbergen. This Friday, the multi-instrumentalist releases his bundle of no less than three new albums. Has he been seized by some kind of spirit, channeling higher creative forces through his body? Or does everything he plays around with just seem to work? Whatever it is, we’re digging it.

The first album, Presents For Friends, consists of piano pieces, Stringworx is string pieces and Ubuntu dives into the world of the computer, as a mode of production and instrument in itself.

A release that resists categorizing. It flies from bliss to whim, flirts with the sensational and the silly. An immersion and a playdate, with beautiful melodies, masterful harmonic shifts, eccentric fusions and little moments genius scattered throughout.

Emotional Rescue reaches its 100th reissue in its 10th year with a landmark, a collection of previously unreleased songs from Brenda Ray. Encouraged and cajoled since the label's inception, Brenda Ray's (Kenny) music has gone from cult curio to cult status in that time, as her mix of DIY/post punk, dub reggae, jazz and pop transcends reached admiring audiences.

Following the completion of Naafi Sandwich in 1985 and the subsequent recordings as Brenda And The Beach Balls - the sought after Volume 1 LP in 1986 and three singles on Siren/Virgin in 1987/88 - her releases might of stopped for almost two decades but she never stopped recording.

The 10 songs show not only continuous activity in her North-West home studio, but to be consistently creative, moving forward and relevant. Hip-Hop, Street Soul and House all feature alongside Brenda's unmistakeable Be-Pop-Dub-Pop song writing. Working as always with partner Gerry Kenny aka Sir Freddie Viadukt, plus a cohort of friends joining across the sphere.

Starting with 'Universal Purpose', poet and friend Eugene Lange delivers a lanquid breakbeat-dub sermon on struggle and love, as Brenda's vocals accompany. 'Spirit's So High' captures House music's dawning optimism to perfection, a swirling, uplifting 4.30 minutes as you'll ever hear. The doo-wop shuffle of 'MMMMoon Warp' experiments with Coldcut-lite sampledlica cut ups, alongside Brenda's unmistakable breathing-singing delivery, before 'Love's The Most' and 'Hope' are classic Ray love sentimental paeans, backed with latter day Balearic musicality.

Eugene Lange returns with the rap attack of 'Dancehall Exocet'. A conscious poetic stream over "Minister of Noise" industrial beats with backing and counter from Brenda, shows the breadth she was exploring at this time. Crude synth bass and chiming 4/4 percussion follow on 'This Was No Dream' with soft, humming vocals encapsulating some proto-house romantic escapism, before Eastern influences mix with flute, strings, bells and a doo-wop skiffle on the aptly named 'Tequila Sam'.

The album closes with a nod to what's gone before, in 'Return Of The Theme From A Tall Dark Stranger', an update on her "Volume 1" classic, all is replayed, overlayed and "mad"-mixed, Brenda's studio mastery shining through. An acoustic return of 'Love's The Most' bring the album to completion, but this is by no means the end but hopefully, the start of more undiscovered and discovered mini-masterpieces from Brenda Ray and friends to see the light of day.

French multi-instrumentalist, DJ and producer Jean-Philippe Altier has yet to have his moment in the sun – as Jpye at least. While no newcomer, he’s mainly spent the last few years writing and recording music as Twonk alongside good friends Leonidas, Rob Donelly and Renato Tonini.

We have a feeling that the spotlight could be heading his way soon, though, thanks to his debut album on Claremont 56, a gorgeous set of deliciously summery, laidback and ear-catching Balearic pop gems that will delight all those who dig for dusty, mid-1980s European records that combine sparkling synthesizers and woozy, afternoon-fresh vocals with vintage drum machine beats, glistening guitars and warm, intoxicating bass.

Fittingly, both of Jpye’s regular studio buddies Leonidas and Renato Tonini both feature on a number of tracks, alongside vocalist e11e, and keys-players Michael Tainturier and Rob Donnelly.

The album gets off to a stunning start via a trio of delightfully languid, life-affirming, e11e-voiced gems: ‘Samba With You’, a gently Latin-tinged Balearic pop number built around shuffling beats, rising and falling synthesizer lines and bubbly bass; the breezy and blissful ‘Downside Up World’, a slap-bass-sporting chunk of horizontal, mid-‘80s Riviera pop that boasts some stunningly jazzy guitar solos; and Leonidas co-production ‘Oui Non’, where squiggly TB-303 acid lines weave in and out of Pat Metheny style guitars and glassy-eyed synth sounds.

Leonidas also features on another of the album’s most memorable moments, ‘Let The Record Spin’, where tumbling synthesizer lead-lines, synthetic vocals, echoing synth sounds, more bubbly acid lines and Renato Tonini’s fluid hand percussion rumba ride a hybrid electro/dub-disco groove.

Tonini becomes the headline attraction on another trio of killer cuts, where he handles lead vocals. On recent single ‘Cosa Ti Va?’ and the crunchier, more-up-tempo ‘Non Ci Pensare’, Tonini delivers rhythmic, spoken word verses over typically colourful and authentically ‘80s backing tracks; as a result, both tracks recall classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’. The quality of Tonini’s sweet and emotive singing voice comes to the fore on ‘Don’t Stop (Tiddidam Dub)’, a drowsy, warming and glassy-eyed affair that’s as tactile, groovy and dreamy as they come.

The second half of the album is dedicated to DJ-friendly dub revisions and instrumental takes. It’s on these that the quality of Jpye’s production and arrangement comes to the fore. Highlights include a chunkier and more bass-heavy take on the album’s opening song with added synthesizer flourishes and echoing electronics; the previously released ‘Dub’ of ‘Cosa Ti Va?’, and a fine dub-style revision of ‘Non Ci Pensare’ from label boss Paul ‘Mudd’ Murphy, who wisely lets Jpye’s instrumentation do the talking whilst adding echoing effects to selected snippets of guitar and synthesizer.

DJ Tennis's Life And Death welcomes electronic innovator Moscoman for a label debut that superbly showcases his broad array of club-ready but widescreen sounds. Moscoman is based in Berlin but brings plenty of worldly influences to his music, not least from his homeland of Israel. Next to musical explorations on his own Disco Halal label, he has served up everything from raw and rugged machine disco to melodic techno via wonky house on ESP Institute, Diynamic and I'm A Cliché. He is someone who embraces whatever takes his fancy and has a wilfully random approach to making music that results in never less than thrilling and original tracks. That is the case again here: right from the off 'Wave Rave' is an unusual but effective offering that pairs hands-in-the-air, trance-inducing chords with more reflective melodies and rugged drums. After that one packs a truly emotional punch, 'Dinner For One' is downright dirty. Wild, detuned synths spray about over 'Spastilk'-era snares and rolling drums and the whole thing works you into a lather. On the flip the mood changes again. This time, '550' is a dreamy and zoned out house track with a gorgeous and acoustic lead melody that encourages your mind to wander as you drift along in the warming groove. Last of all, 'Space Comfort' is playful number with sci-fi keys bleeping up and down the scale while harmonic keys and withering retro synth chords bring a sense of spookiness to the fore.

Not much is known about the German session musician ensemble Studiogruppe 1 from the ‘70s and ‘80s. It’s believed that the grandfather of one member, known only as V.S., originally soundtracked silent films in theatres - although that hasn’t been proved. Studiogruppe1 never rose to prominence in the heyday of studio groups and library records, but it certainly wasn’t due to lack of trying.

Although it’s unknown who the individual members of Studiogruppe1 were, it’s clear they could find a groove within the machines. It appears the sessions were also engineered by V.S., and there’s plenty of space between the notes, which lends a heady atmosphere of anticipation to the music. Just close your eyes and you will find that the music triggers many scenes from the movies in your mind.

Take the opener Dunkler Sonnenaufgang, for example. Waves lap on the shore line of an alternate Coney Island, while the sound system of an abandoned amusement park plays arpeggios in the distance. Errinungen could complement expansive panoramic time-lapses of natural cycles and rolling clouds. The track Wenn Der Tiefe Schlaf Kommt, might accompany a documentary on REM dream cycles and flotation tanks. Sonnentanz raises the temperature, as act III in every movie narrative should, as protagonists rush to overcome their challenges. Ein Neuer Anfang would perfectly soundtrack the plot twist of any number of thrillers, film noirs, or sci-fi mysteries. Album closer War Alles Nur Ein Traum could supplement slow-motion shots of dawning realization, foreshadowing a betrayal or a cliffhanger.

V.S. and Studiogruppe1 have condensed the evocative sounds of the ’80s into something of an art form. Bringing to mind the lilting melodies and melancholy chord movements of Tangerine Dream, Vangelis or Manuel Göttsching, Studiogruppe1 manage to capture widescreen emotional flash points without the need for celluloid, or barely any visual aid, for that matter. These tracks work just as well in the furnace of your imagination or a dark room filled with dry ice and lasers.

First Word Records is very pleased to welcome back Quiet Dawn with a brand new EP entitled 'Movements'.

Parisian multi-instrumentalist Will Galland has been with First Word since late 2014, providing several releases for us over the years, from his acclaimed debut album 'The First Day' to his last EP release, the organic opus 'Human Being - The Short Story Of The Reed'. Collaborations have included Makaya McCraven, Oddisee, Miles Bonny and First Word crew such as Eric Lau, Bastien Keb and Sarah Williams White, who he teamed up with on his classic remix of the track 'Hum' and most recently on the track 'One By One' which appeared on the compilation EP 'A Family Affair' at the start of 2021.

For his latest project, 'Movements' sits firmly in the realms of broken beat, after being heavily inspired at First Word's infamous 14th birthday party at Total Refreshment Centre, where he played alongside label-mates such as Kaidi Tatham and Children of Zeus. This delectable six-track EP encompasses a series of deeply percussive grooves and squelchy synths. This is a predominantly instrumental affair, though does feature the supremely soulful vocals of Oliver Night on the track 'Change Must Come', following on from Oliver's work with the CoOp Presents crew amongst others.

Quiet Dawn says "after the birth of my son, I took the time to get back to making new music.

And when I started to work on new tracks, I wanted to compose something without concept, unlike my previous records, just because time is precious and I wanted to find pleasure again when I composeand not be fixed to a concept, or a story.



These new tracks are instinctive; made with my main instruments, rhodes & piano, synths, percussions, vocals, bass and guitars. They are naturally oriented towards my big musical crush, BRUK, along with different rhythms, vibes and grooves. For me, it's definitely a record for the dancers. For this reason, the new EP is called 'Movements'. Aside from the dancer's element, the title relates to everything that is happening in the world at the moment, working on this record over the pandemic. Affecting people in all countries, friendship, mutual aid, solidarity and movements in many instances are very important to me, my family and my musical family, First Word.'



The influences on this particular EP come largely from the West London music scene; DKD, Bugz, Neon Phusion, 2000Black, Domu, IG Culture, Jazztronik, MdCL, the First Word fam and many many more artists. There are also heavy vibes inspired by 70's jazz, funk, disco, latin & african music."

'Movements' by Quiet Dawn is released on First Word Records on vinyl & digital in late 2021.

TLM025 kicks off with Erik Escobar and his cover version of Memories by Caruso. Erik is from Campinas in Brazil and a very well respected and talented musician. Taking the track into a completely different direction to the original this cover version is written for the dancefloor. Onto the AA side and Cormac Fulton (one half of Caruso) gives us a very deep track called Perplexed, a very moody affair with Matt Cox and Steve Conry on production duties. Next up is Time Machine from Detroit's Lorenzo Dewberry, another deep journey taking influences from the cities sound for another dancefloor piece. Lastly Gee W finishes off the EP with his track MarshMellow, a very nice laid back deep house track from the UK based multi-instrumentalist.
4 artists to watch over the coming years.

REPRESS

Acid bass, slow funk and cosmic energy make for a mind expanding trip in the Liquid Canoe.
Load up on edibles, make it a macro-dose and let the music lead the way.

Whether you’re hard at work on a Hamburg allotment, basking in the heat of a Balinese beach or enjoying the cool waters of the Salish Sea, remember that the same sky stretches over all of us.
And if you forget your finger for a minute and soak in the heavenly beauty instead, you might just catch the cosmic vibrations of Liquid Canoe, the latest members of the Growing Bin family.

A loose ensemble, Liquid Canoe is the brainchild of Wolfgang Matthes, a lost Angelino who’s swapped the rush and push of a mega city for the space of the Pacific Northwest - and listening to this eight track offering, you’ll realise that space is the place. Armed with an array of vintage synths and programmed rhythms, Wolfgang sketched out a slew of inter dimensional transmissions, inspired by the commune electronics and space rock of 70s Germany and inhabited by the spirit of the boogie. Inviting friends to drop by and lend their own instrumental skill, Wolfgang quickly turned Liquid Canoe into a true collaboration. Finalised in a converted stable on Galiano Island, the LP is a perfect marriage of the electronic and organic, shimmering arps and spheric synth bass intertwined with American primitive guitar, nuanced hand percussion and glassy chimes. As this mind expanding collection stretches out towards infinity, you’ll hear Floyd-ian funk, cosmic dub, tangerine daydreams and micro-dosed ambience, all imbued with the memories of New York lofts, Bay Area warehouses, skyscraping pines or the world wide web of fungi. Liquid Canoe taking you on an oarsome trip.

PETROS KLAMPANIS is a Greek bass player and when we heard his track “Chroma “on Bandcamp we had instantly the idea of a remix or working with him. The original track being live gives a sort of spontaneous vibe that really caught Alex ‘s attention and had the “edit / version” idea already in his head.

Without the shadow of a doubt this track was perfect to be remixed by a real musician who can understand complex jazz arrangement, so Jon Dixon came up. Jon loved the track too and did his thing. Two versions here for you to dive deep into jazz and electronic music. We hope you dig the sound of this project and enjoy the listening and maybe the dance experience with us. We will keep pushing forward the various styles and soulful grooves with an open mind and expand our visions.

Alex and Stephane Attias

With the success of The Vendetta Suite’s critically acclaimed debut album ‘The Kempe Stone Portal’ - Hell Yeah Recordings proudly present the remixes, featuring long-time friends and collaborators David Holmes and Timmy Stewart.

The 90s in Belfast spawned friendships and connections made across the barricades; a time credited with some of the most important and significant cultural moments in the history of the city. Club-nights including the Art college, regularly played by David Holmes and Iain McCready helped to spawn a new generation of musicians and DJs looking to make their mark; Including both Gary Irwin (The Vendetta Suite) & Timmy Stewart.

Afriquoi are back with their Time is a Gift Which We Share All the Time EP. Taken from a line from the track “Ndeko Solo”, the title is a reminder of the blessedness of being alive and the intimate connection of all things. This is the first EVER Afriquoi release where the whole band has gone into the studio to record a full live-band sound, playing together at Octagon Studios, putting down songs that were written collaboratively and honed over years on live stages. It was recorded with the assistance of Tom Excell (Nubiyan Twist, Onipa) to help capture the right live sound. This EP showcases the live band sound that has thrilled audiences on festival stages from
Glastonbury West Holts to WOMAD to Dimensions Festival: Jally Kebba Susso’s exquisite kora playing, Fiston Lusambo’s intricate Congolese guitar, uplifting vocals from Andre Espeut, crisp percussion from André Marmot, tasteful chords from Nico Bentley and beats from Oli Cole. More than any of Afriquoi’s previous releases, this EP allows each member’s individual sound and talent to shine. Guitarist Fiston Lusambo explains: “we wanted to create a style of music which does not exist yet by combining Congolese guitar, Gambian kora, African Djembe and mixing them with European music… this EP is a result of our work where each of us has put his talent in it, we think we have now something which is what we wanted”. Parisian label Mawimbi are the perfect match for the band, having established themselves as champions of afro-tinged electronic music, through their long-running nights in Paris, their DJ sets,
their label releases and their own productions and remixes for the likes of Oumou Sangaré, Femi Kuti, Cerrone & more.