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‘Gentle Persuaders’ is the Love Love debut from London based neo-noise-jazz outfit Sly & The Family Drone. In the form of a four track long player, Sly vomit forth a smooth serving of curious and clattering noise not devoid of fun.

With the ingredients of shattering baritone saxophone, splurges of analogue noise, rolling drum derangements and snarling feedback it is immediately clear that these formidable noise-mongers have honed their methods of ear-attack adeptly. Textural spaces are peppered with bouts of densely packed controlled-chaos creating a tension that builds almost imperceptibly until the crushing pay-off that comes with the final track.

The politest of bludgeonings, ‘Gentle Persuaders’ has a real sense of cohesion and style, at times subtle and at others shudderingly direct.

With their unusual and interactive live shows, the group cut their teeth stunning the audiences of punk and noise scenes across the UK and Europe. Now, Sly & The Family Drone present their most complete recording to date; a rush of sheer ataxia ushering in a new age of noise.

Sophomore album from South London avant-groove collective Snorkel
Stop Machine
Dead Skin
Edgar's Hoover
Wet Tongue
Driller
Dark Star
Loophole
Jellyfish

Soccer96 is made up of two thirds of The Comet Is Coming, currently whipping up a cosmic storm on their Mercury Prize nominated album Channel The Spirits.


Their bold approach to improvised composition, recording processes and experimentation is reminiscent of Flying Lotus, Can, Thundercat and Gaslamp Killer.

SW2 returns to GD4YA after his previous release with Moses Boyd, this time with Joe Armon-Jones & Badwithphones+

Remixes from SP:MC & Hodge

Slowfoot Records is proud to introduce The Grip and their debut album 'Celebrate'.

This playful, freewheeling and energetic trio is comprised of three of Europe's most in demand and respected jazz musicians. Joining Finn Peters on flutes and sax, we have the highly individual playing of Oren Marshall (Sons of Kemet) on tuba and Tom Skinner (Melt Yourself Down, Owiny Sigoma Band) on drums. Both musicians have previously released records on Slowfoot, Skinner most recently under his Hello Skinny moniker, and both have collaborated extensively with Finn over the years, most notably on his critically acclaimed 'Music Of The Mind' project.

In some respects The Grip is a reaction to the Music of the Mind project, that heavily featured live sampling, electronics and '...;covered the stage with wires'. Wanting to bring the music down to earth again, this completely acoustic trio was born. Inspired by stories fictional and true, their telepathic compositions encompass music from hard blues to free bop and deep funk.

The name "The Grip" is taken from the classic free jazz album by "Black" Arthur Blythe. Finn worked with the legendary drummer from the album, Steve Reid, shortly before he died in 2009. Oren has also collaborated with Bob Stewart, the tuba player from that record. Blythe is a big influence on the musicians, but more importantly, the idea of making events (artistic, musical, social) happen within communities is crucial to The Grip's vision.

After a string of successful dates the group convened in label boss Frank Byng's South London studio and, true to their philosophy, recorded the album in a day. The resulting recording is fresh and spontaneous and their dynamic interplay clearly the result of years of mutual collaboration. The album is being released as a limited edition vinyl.

"A welcome new excursion in the art of the piano-less trio with tuba holding down a sonorous bottom end. The Grip make jazz from its bare bones with a sound that is both primal and playful. Sometimes the music feels like it's mining an ancient seam, sometimes it explores more modern abstractions, though it's always intriguing and engaging." Patrick Forge

"Finn Peters...; possibly his best work to date" Gilles Peterson

"From the knotty free-bop of 'Compost Fly' to the Arabesque drones of 'Saladin', Celebrate adds further momentum to London's vibrant contemporary jazz scene." [The List]

"Intricate yet engaging, cerebral yet physical, thematic yet episodic, The Grip presents a new black music that looks as far forward as it does back." [Kevin Le Gendre - Jazzwise]

"...;one of the city's hottest propositions. Their debut album Celebrate, out now on Slowfoot Records, takes the group through knotty free-bop, deep blues and Middle Eastern drones in a deft mix of free playing and compositional ingenuity." [The Quietus]

"Across nine group compositions in a range of styles covering blues, free jazz, funk and beyond...; ...;Taken as a whole, the album bursts with personality, verve and energy-great music that is also great fun. We must hope this trio prospers and records again very soon." [All About Jazz]

"Recorded in just one day, Celebrate is immediately alluring and resonates the trio's wondrous and spontaneous creativity." [Cast The Dice]

"The Grip combine legacy with their own unique compositional skills, focused energy and intuitive 21st century funk." [Ancient To Future]

"Some forward thinking jazz loveliness for your Tuesday evening, best served in one sitting. Gilles Peterson has called Celebrate Finn Peters' best work to date, and he might just be right. The Grip may serve as shining examples of the London jazz revival, but they also serve as proof that the genre never really needed reviving anyway." [Mangroves]

The Grip will be performing alongside live Hip Hop duo Con+Kwake and Michachu (Dj set) at Cargo on the October 19th, as part of a Finn's Sonic Navigation project at Cargo. Sonic Navigation aims to explore the lineage of improvised music, referencing 60 and 70's Jazz recordings that influence live British hip hop, spoken word and contemporary jazz.

Reviews/Previews - The List, Jazzwise [live review], All About Jazz, The Quietus, Cast The Dice, Ancient To Future, Mercury Recommends, Jazzwise, Mangroves.

Radio - Jazz on 3, Gilles Peterson [BBC6], Patrick Forge, Nick Luscombe [Late Junction], NTS, Max Reinhart [Late Junction], Hoxton Radio

Purple Marbled Vinyl

Limited edition in random coloured vinyl and small centerhole. Each one unique mix between grey, red, pink with possible splatters from other colours.

Donut chiefs The Mighty Mocambos return with triumphant funk workout "The Take Off" out on limited edition 45.

On the instrumental A-side, crunchy drums and percussion set off into a 7-minute breakbeat extravaganza where dramatic horns and psychedelic, fuzzed-out guitars build up to an epic finale.

On the flip, Nichola Richards chants soulfully before passing the baton to Brooklyn MC JSwiss, whose spoken word poetry takes the listener to another level, ready for take-off!

Another sure-shotwinner from the Mocambo camp, for all funk DJs and aficionados.

The Pharaohs only managed one release during their short lifetime, 1971's masterful Awakening. But when the San Francisco-based jazz-funk reissue label Luv N Haight reissued Awakening in 1996, they also came out with a brand-new CD of mostly previously unreleased material called In the Basement. Most of this album was recorded live in 1972, after the already enormous 11-piece band had grown to include four more players, including a sixth drummer. The live tracks are fascinating, because where Awakening sounds like an earthier and more Afrocentric version of Earth, Wind & Fire (which several members of the Pharaohs would go on to found in 1973), the much loopier and more jazz-oriented tracks here sound more like Sun Ra jamming with the P-Funk All Stars. The 11-minute take on the Stylistics' "People Make the World Go Round" is absolutely indescribable, a mix of otherworldly horns and psychedelic guitars over a non-stop African-style groove. Other highlights include the all-rhythm "Drum Suite," a hypnotic blend of organic polyrhythms and chanting. – AllMusic.

Repress !

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

Repress on white vinyl.

The album features the single ‘Lamani’ a hypnotically psychedelic hip-swiveler of a track.

It also features their latest single ‘Dimitro’ which is their superb re-work of a traditional Bulgarian wedding song using 808 drum machine & bass to work it into a slow-mo dance track whilst retaining the raw vocals and ritualistic feeling. Tolga found the original record whilst digging in a world music record store in Istanbul and immediately fell in love with the vocals. Other highlights on the record include sunset, chill fave ‘Khepre’, the dancefloor chugger ‘Shu’ & the superbly catchy trumpet banger ‘Sahara’ Pink Floyd vibes on the hippie synth based ‘Hold Your Breath’.

This special edition double vinyl release includes 5 tracks that are not on the digital album each with their own unique style and includes collaborations with Ibiza legend DJ Pippi on Sem Voce and the jazz journey of Lumiere, produced in Denmark with label mates The Swan & The Lake & Langkilde.

Altogether a wonderful new album by islandman who has taken another musical leap forward from his critically acclaimed debut album ‘Rest in Space’. An album which has just been re-issued on Limited Edition yellow vinyl!

Band members:

Tolga Böyük - songwriter, producer, vocalist, guitarist, synth
Eralp Güven – Percussion
Erdem Başer - guitar

In a nation said to have ‘never had it so good’, Britain’s jazzmen were certainly proving this to be so during 1958. Not yet drowned by rock and roll, jazz was the youth culture music of the cognoscenti, those who, digging both modern American records and Continental fashion, were laying the groundwork of the first phase of ‘Mod.’ But there was more to 1958 than aping the mannerisms of others. London had its own scene and its own style – a Soho kind of sound – centred around clubs like the Flamingo and bands like the Jazz Couriers and there was seemingly no shortage of visiting US jazz giants, from Dizzy Gillespie to Dave Brubeck, queing up to give their approval for music they thought world class. Soho Scene ‘58 tells the story of this heady time; a Year Zero for Modernism in which London began to swing its way towards the 1960s, jazz setting the pace as never before.

First time on vinyl for this album. Proto Jazz-Punk multi-genre splatter album, released on CD in 1993, My Wife Doesn’t Understand Me is available on vinyl for the first time as a double LP, playing at 45rpm for superior sound quality. The accompanying download includes radio edits of live favourite 6-8-1 (The Burn-Up) and Blue Funk, plus Ructions (60s Stereo Mix) and Qualm-Free Zone. A statement of intent from the off, this is an album first and foremost. No singles, a piece of work to be listened to as a whole - from short shards of humorous observation (Cover Versions), politics (Margaret Thatcher We Still Hate You), straight-as-a-die covers (A Taste Of Honey and Jean-Pierre) to the closing Musique Concrete of the title track, prisoners were never taken. Terry Edwards and The Scapegoats look forward to the vinyl edition of My Wife Doesn’t Understand Me to bemuse, baffle and delight once again as it did on it’s release when Acid House was on it’s way out and Britpop was on it’s way in.

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

Repress !

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

Repress.

Repress.

LIMITED EDITION CLEAR VINYL

Repress!

LIMITED EDITION CLEAR VINYL