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Sandra Wright was an incredibly powerful Soul singer from Memphis (later Nashville). 'Wounded Woman' is one of the greatest Deep Southern Soul albums of all time and defined by it's title track  re-issued on 7' here for the first time. The flip side 'Midnight Affair' has been an in demand modern soul dancer for many years and it receives it's first UK release here. Both songs were recorded at Broadway Studios Muscle Shoals in 1974 produced by David Johnson, in the same studio that Swamp Dogg used for his seminal albums by Doris Duke and Sandra Phillips. Timing for the release coincided with the demise of it's label Truth/Stax Records and so missed its opportunity for the commercial greatness it deserved. Original copies of 'Wounded Woman', the 7' on Truth Records have sold for over £300. Soul Brother also have the full album available on LP and CD.

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

Acid house alert! We are really excited to introduce you our new release. Tomlin is a misterious producer from our gang and we are sure you will love him. Pure analog stuff for Omar S and Levon Vincent's fans.
Don t miss it!"

Daniel Lopatin Aka Oneohtrix Point Never Lässt Seinem Hochgelobten Neuen Album "age Of" Die Limitierte 4-track-ep "we'll Take It" Folgen. Der Titeltrack Ist Als Albumfavorit Gleichzeitig Die Neue Singleauskopplung, Die Übrigen Drei Tracks Sind Bislang Unveröffentlicht. Eine Editierte Version Von "trance 1" War Übrigens Teil Des Radiosignals "a Message From Earth" Zum 40-jährigen Jubiläum Der Golden Records, Die An Bord Der Beiden Voyager-missionen Mit Klängen Und Bildern Von Der Erde In Den Weltraum Geschickt Wurden.

First Terrace return with the second instalment of their split series, an ongoing project which sees the work of two artists illuminated in each other's light. Built on the acknowledgement that context alters perception, the light shone by the opposing track alters the shadow cast, the effect of the other. In answer to the forked road presented by FTS001, we chose the quiet path*. As such FTS002 is a journey softly travelled. These pieces will not leave a scar on the sonic landscape, rather glide above the tips of the reaching leaves, high on a different mission. Vida composed her pieces to be absorbed in complete darkness. They were exhibited as part of the project In the Dark in Berlin, 2016. The lack of visual stimulus enhances the listening experience, sharpens the ears. At the same time, the audience is made vulnerable, they cling to the sound as it is their only guide through this passage of time. More information on In the Dark can be found here. Chihei presents a new long form piece conjured with guitars and effected into abstraction. It is parallel in form to the ebb and flow of water over the margins of a beach, ever the same yet constantly renewed. *(this time)

Next up on Francis Harris' exceptional imprint Scissor & Thread comes a collaboration with American Producer, DJ Aakmael. Aakmael has built a reputation for some of the deepest, rawest house music sounds coming out of the States, releasing well-received tracks on the likes of Freerange Records, Release Sustain, Kolour Dogmatik and NDATL. Returning to Scissor & Thread, Aakmael and label boss Harris cook up an intoxicating vibe across this 5 track EP. Each shares a track and work together on the fifth, while also remixing each other's solo cuts. First up Aakmael's Deep Muzik- a quintessential nod to its self-proclaimed mission statement. Skittering drums, a shuffling groove, deep keys, and chords make up this essential opener. Frank's (aka Francis Harris) All That Light Mix shows another side, finding pockets of space and developing the fizzing percussion to produce an equally affecting piece of dancefloor bliss. Sharing production duties from the outset on Mercy of Means, the guys slip into an easy mid-tempo groove with plenty of depth - the rhythm rolls along and offers the perfect basis for some sublime melodic touches. Frank's Part Song also hones in on the subtle deep grooves. Bumping, slightly filtered and saturated drums provide the main body, with beautiful washes and keys finding their way through, Aakmael's remix beefs up the groove somewhat, making the snares snap harder and kick hit a little stronger, but the essence of the tracks melodic atmosphere remains perfectly in place.

Den Hague's Dazion (who previously released a 12" on MFM's Second Circle imprint), with a 2 tracker for Safe Trip.
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Label say:

''URGENT: THE SAFE TRIP ORGANISATION HAS TAKEN TO THE WATER IN A BID TO SPREAD THEIR CODED MUSICAL MESSAGES FAR AND WIDE. THEY HAVE RECRUITED A YOING OPERATIVE KNOWN AS DAZION, A KEEN WINDSURFER, TO DEVELOP A METHOD OF BROADCASTING THEIR ADDICTIVE AND MIND-ALTERING MUSICAL MISSIVES WHEREVER THERE IS A SUITABLE BODY OF WATER.

OUR OPERATIVES TRACKED DAZION TO A REMOTE SPOT ON THE DUTCH COAST, WHERE HE WAS SPOTTED TRIALLING THIS NEW TECHNOLOGY WITH HIS FAVOURED F2 DRAGON BOARD. AS HE RODE THE CHOPPY WAVES, WE WERE ABLE RECORD THE RHYTHMICAL ELECTRONIC MUSIC BROADCASTING FROM WITHIN THE BROAD. THIS MUSIC FEATURED THE KIND OF TRIBALISTIC, DELAY-LADEN DRUMS, SWELLING ELECTRONICS AND EXOTIC MELODIC REFRAINS THAT ARE KNOWN TO INSPIRE FRENZIED DANCING IN MEMBERS OF THE PUBLIC. WE HAVE CHRISTENED THE RECORDING DRAGON WAVE'.

WE LATER TRACKED DAZION TO A LIGHT INDUSTRIAL UNIT ON THE OUTSKIRTS OF AMSTERDAM. THERE HE CONTINUED TO TINKER WITH THE TECHNOLOGY, TESTING IT OUT BY BROADCASTING ANOTHER MUSICAL COMPOSITION. THIS WAS MORE POIGNANT AND MELANCHOLIC IN TONE, UTILISING SPAACEY ELECTRONIC MELODIES, GENTLY BOBBING CHORDS, HEART-ACHING GUITAR FLOURISHES AND A TOUGH BUT BROKEN RHYTHM TRACK. THE RECORDING - CODE NAME VX LTD' - HAD A HUGE IMPACT ON US EMOTIONALLY AND EVEN REDUCED ONE OPERATIVE TO TEARS.''

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

Helsinki's We Jazz Records Presents "y-otis", The Debut Lp From Berlin-based Swedish Saxophonist/composer Otis Sandsjö, Joining Forces With Keyboardist Elias Stemeseder, Bassist Petter Eldh And Drummer Tilo Weber. The Album Is A Forward-reaching, Multilayered Collection Of Eight Originals Penned By Sandsjö And Produced By Sandsjö And Eldh. What You Get Is A Form Of "liquid Jazz", Born In An Era Where The Understanding Of Jazz As A Musical Language Has Evolved Way Beyond The Concept Of The Previous "modern". Informed By Hiphop And Electronic Music, "y-otis" Is Pure Jazz In That The Quartet Stays True To Its Constant Mission Of Creating A New Form Of Musical Communication. Sandjö's Circular Sax Riffs, The Album's Rich Production Touch, And The Chopped-up Jazz Form Creates A Musical Concept Which Stays Melodic And Beat-laden While Being "free" Right To The Edge Of Avantgarde. It's As If The Music Is Sampling Itself, Constantly Keeping Ahead Of The Curve In The Musical Lineage Of Jazz.

Otis Sandsjö (b. 1987) Hails From Gothenburg, Sweden. He Is Known Previously For Example For His Inspired Work On Singer Lucia Cadotsch's Globe-trotting Trio Formation "speak Low", Also Featuring "y-otis" Co-producer And Bassist Petter Eldh. Elias Stemeseder Was Dubbed One Of The Top 15 Young European Musicians To Watch By All About Jazz In 2017. Tilo Weber Ranks Among The Most Creative Young Drummers In The Scene. Stemeseder Is Currently Based In New York, While The Remaining Three Musicians Here Live In Berlin. Live On Stage, The Band Performing The Material On The New Release Is Called Y-otis.

PROFILIC MUSIC COMPOSER JOVAN IS HERE WITH TWO BRILLIANT TUNES, OF WHICH ONE IS PREVIOUSLY UNRELEASED. JOVAN HAS ALSO JOINED OUR LABEL AS A STAFF WRITER FOR UP AND COMING VOCALISTS, SO MAKE SURE TO KEEP AN EYE OUT FOR MORE TOP QUALITY SONGS PENNED BY THIS MAN. FROM THE NEW UK LABEL SIX NINE RECORDS Ltd BASED IN NEWCASTLE UPON TYNE AND WEAR. TRULY NOT TO BE MISSED
AS IT IS A LIMITED UK PRESS OF 250 COPIES ON LAQUER CUT VINYL WITH SMALL HOLE AND FULL COLOUR PRINTED PICTURE COVER!

Very nice compilation on this artists work - on the ever excellent Born Bad imprint!
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For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara's dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country's independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions

Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for cultural authenticity' conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina's cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l'Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi.

Nicknamed the troubadour from the bush', Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana's dreary presidency, which ruled the country from 1966 to 1980.

Red Hare's roots run all the way back to the Washington D.C. music scene of the 80's and 90's, where Shawn Brown, Jason Farrell and Dave Eight immersed themselves in the braids and tangles of that city's unique strain of hardcore.
In 1987, Brown (the original (and current) singer of Dag Nasty) and guitarist Farrell founded Swiz— a harsher take on melodic hardcore released via Dischord's sister-label Sammich and their own freshly-minted label Hell- fire. Eight joined Swiz on bass in 1989 and remained until the band wrapped it up in 1990.
By 1995, Farrell and Eight reconvened to immerse themselves in the angular post-hardcore stylings of Bluetip, yet found enough juice to again tap Brown for the short-lived Swiz reboot, Sweetbelly Freakdown. Meanwhile, Joe Gorelick was living a parallel existence drumming in the band Garden Variety. A fortuitous string of circum- stances led him down the Jersey turnpike straight into Bluetip's empty drum chair. Although Gorelick did not record with the band, his prowess was nonetheless noted and cataloged for future missions — first in 2002 with Farrell in Retisonic and now with Brown, Farrell, Jason and Eight in Red Hare.
Red Hare are set to release their second album Little Acts of Destruction on May 11th through a joint effort with Dischord and their own label Hellfire. Like their debut Nites of Midnite (2013) and their stop-gap 7', Lexicon Mist (2016), the album was recorded and mixed by longtime collaborator and friend J.Robbins. These 14 songs are a heady/hearty mix of the familiar and new that bristle with the energy of the hometown sound they helped shape.

On A side, electronic music wizards Kompozyt team up with a Dub Legend Lee 'Scratch' Perry to bring you a heavy-hitting and instant bounce-inducing Dub Techno track 'Hidden Force'. Lee Scratch Perry's amazing and charismatic Dub poetry blends superbly with the neat fusion of spacey and subterranean sounds of Kompozyt productions. The single is not to be missed this summer.

On B side, Kompozyt brings you a 7' version of 'Homesick' - Dub and Trip-hop inspired Experimental Electronica with Olgierd Dokalski on the trumpet. Olgierd's incredible performances of real haunting beauty further reinforce the analog, live and improvisational aspect of Kompozyt's music.

Both tracks come from Kompozyt's debut album: 'Synchronicity' - out everywhere now on CD and DL.


Selected Reviews of Kompozyt's Debut Album and the Single

5/5 Decoded Magazine: 'Incredible album 10/10'

4/5 Lars Berhenrot (Deepershades): 'LOVE THIS .. never-ending deepness ..'

5/5 Pierre Ravan: 'Amazing work from the heart'

5/5 Queensradio.org: 'I'll definitely be playing these guys on air'

4/5 Garth Trinidad (KSRW Radio) 'Exquisite score without a film'

5/5 Hoxton FM (London): 'Incredible release!'

4/5 Stereo MCs: 'Nice vibes refreshing'

4/5 Robert Babicz: 'I love dub. in all forms'
5/5 Adam Hannibal (Balanced) : 'Neat fusion of spacey and subterranean sounds. Reminiscent of the Beyond Recs Ambient Dub compilations with some freshness... Well done'
5/5 Al Bradley (3amrecordings): 'This needs full love because it's excellent :) I can really picture myself just letting this play from the first sound to the last & becoming utterly immersed as it flows through! Gorgeous.'
5/5 Bartlomiej Blesznowski- 'One of the best electronic music albums this year'
4/5 Neil Brown (RMFM; Pro Mobile Magazine): 'Some nice tunes to get your head in gear to.'

5/5 Jorn Kirk (DJ Jay Kay) (Faith Sundays): 'very nice album !!! a joy to listen to'

Word Of Advice To Funk Lovers, There Is Not A Minute To Lose. Get On Board Of The Big Hustle's Spaceship. Before We Take Off, Let's Do A Little History. The Band Was Founded In 2014 By Bass Player And Composer Sébastien Levanneur And Its Aim Is To Bring Together 70's Old School Funk With The Hippest Actual Sound Laced With Influences Spanning From Steely Dan And Headhunters, To Snarky Puppy And Soulive. With Mighty Horn Players, A Rock And Funky Rhythm Section, The Big Hustle's Music Has A Very Large Variety Of Soundscapes.

The First Destination Takes Us To The Washington, D.c. Area With turn Up'. The Groove Is Clearly Go-go Music Flavored With The Trademark Sound Of Cowbells And Of Course It Reminds Us Of Zapp By The Use Of The Talk Box On Lead Vocals, Performed Here By Saad El Garrab. And Don't Miss Out Shaun Martin (snarky Puppy, Erykah Badu, Kirk Franklin Amongst Others) As A Very Special Guest Performing The Talk Box Solo! Second Stop Is a Curse, A Blessing'. It's An Instrumental Very Much In The Freddie Hubbard Vein During His Cti Years. The Last Leg Of The A Side Ends With An Instrumental Interlude Titled flying Donut'. Double Tribute To Jay Dee And Flying Lotus, The Music Is A Simple Hip Hop Loop Based On Samples.

The B Side Takes Us Back Into The Past With Two Brilliant Covers, Involving Rod Temperton The Late Great British Songwriter Who Scored Some Of Michael Jackson's Biggest Hits. Now The Idea For This B Side Is To Do The Opposite Approach From The A Side. Taking 70's And 80's Original Music And Make Them Travel Into Time To 2018. We First Land With A Heatwave Song Named the Star Of A Story' From Their 1976 Central Heating Album. Track 2 Is A Herbie Hancock Song Named gettin' To The Good Part' From His 1982 Lite Me Up Lp. This Time Traveler Ep Journey Ends With An Interlude. Called gimme Dat', The Song Deals With The Need Of New Music, New Sound.

Again, This Blend Of Deep Rooted Funk Laced With A Contemporary Edge Is To Be Consumed Without Moderation. And Do Not Forget That E.p. Also Stands For Extended Pleasure.

teppas Records presents 'Osaka Steppas' Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Side A features an earth rocker riddim from Ojah & Hiroshi, with conscious lyrics sung by the legendary Rudey Lee.

Side B features a much sought after dubplate from Osaka producer Roots Masashi, a deep, dark & mystical steppa.

Smoove and Turrell are back with a stunning fifth studio album, 'Mount Pleasant', released June 29th on Jalapeno Records.

Washington DC's Rush Plus drop four superb techno cuts entitled 'The Sweat EP' on P.Leone and Caiazzo's E-Missions imprint.

Having dropped three quality releases on their own eponymous label, Rush Plus continue to turn heads with their imaginative productions, gaining support from the upper echelons of techno with names like Rodhad, Ben Klock, DJ Spider, Ben Sims, Slam, Answer Code Request, DJ Deep and many more getting behind them. Following up a release on Ambivalent's Valence Records, they now join P.Leone and Caiazzo's rapidly rising E-Missions imprint.

'Megabust' initiates the package with twisted sci-fi synths and syncopated drums whilst rattling metallic elements operate throughout. Intricate hits of percussion are soon followed by rumbling bass in 'Rebirth' as the track gradually becomes more and more twisted using filtered effects and soaring pads, making way for the shuffling 'Sweat' with its menacing stabs and echoing voices. Finally, the package concludes with 'Slow Release' - a high-octane and ominous roller.

The mighty Casey is up to bat once again for Love Notes from Brooklyn. This time, though, it's a more complete three track artist EP on offer. The music, of course, encapsulates everything that's great about Casey's sound: the lush pads, the crispy percussion, the emotional strings, and the dance-floor destroying basslines. Alternative Faction utilizes one such dancefloor destroying bassline to create a real fist pumping moment in the title track; That Time of Year uses a wriggly acid synth line over the aforementioned emotional strings, and to great effect; and New Mission ends the EP in a unwavering fashion; with heartstring-tugging, terk jerking, emotional pads over an acid line in signature Casey Tucker fashion. Dare we say yet another classic both artist and label's catalog