quête:mo’ funk

This very high quality double-sided 45 features Billy Byrd's throaty vocals on two classic songs. Top drawer modern soul with an irresistible heavy beat, courtesy of producer Calvin Arnold, the Georgia native, known for his pretty diverse and very well crafted soul and funk output. The music was arranged by Tommy Stuart & Frankie Wynn. Most likely it was Arnolds influence that gave this record such a solid, intense rhythm. Yes, it's the beat that really counts. Few records of this nature have such an incessant, thumping groove that has so much appeal to the dancefloor. Upon its release in 1973 this record went nowhere and has remained extremely scarce ever since. At times, pristine original copies on the Scream Records label sold for up to $2000... Now this modern soul rarity is officially reissued, fully licensed and restored from the original master tapes and available for everyone to hear.

* 7" vinyl
* 300 copies
* Featuring Planet Asia (Cali Agents)

2 songs on a limited edition 45 - 300 copies, all straight SP1200. Both songs featuring Planet Asia with one of the tracks featuring one of PA's friends Waz on the hook.

Fredfades & Sun Raw are keeping alive the gritty, analogue sound with 12-bit drums and loops but with their own unique style. Fred has been working with KingUnderground for the last 3 years and has a flock of releases. Sun Raw from Stockholm, Sweden is new to the crew but about to drop his debut "Beat Weeks". The duo are both part of Mutual Intentions crew and find inspiration from old music, from Jazz, funk, soul, rock and anything they find in the crates.

Planet Asia has been affiliated with KU from early on with a release and some features. Some MC's have been left behind, Asia isn't one of those. He's been kicking out better and better verses since he first showed up on the scene in the early 90's and it doesn't look like he's stopping anytime soon.

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

From A Formidable Connection Between Pasadena (los Angeles, Usa) And Osaka (japan), Kay Bee & Kzyboost Bring Us The Funk In A New Wonderfull Way.
Talkbox, Voices, Synths, Leads, Guitars & Strong Groovy Bass Lines Under The Big Influence Of Modern Funk & P-funk.
With Exceptional Collaboration Of Dr. Evo On The Bass For The Song "feel Da Funk", This 7" Vinyl Is A Trip Into The Real Funk Galaxy.

Five Years After "privileged Life" Was Released P.h.o.r.k. Is Back At It For Opal With Four Hypercolour Tracks Referencing French House, Jit, Uk Funky And All Manner Of Hypnotic, Percussive Goodness.

Opener "my Love" Inverts A Super Tight Duelling Loop Of Voices Against An Increasingly Staggered And Glitched Line Throwing Dancefloors Off Balance Like Cassius With A Head Injury. Title Track "no Afterlife" Sits On A Jerking Snare Pattern While Air Vents Open To Release Plumes Of Steam, Urban Fields And Angelic Drone In A 7-minute Ride.

"get That One Note Jam" Has A Clue In Said Title. The Tracks Bounces Forward On A Super Simple Riff While Modular Percussion Pick Out Spaces In Between. The Track Slow Blends Into Resonating Alloys Of Cyber-kora Offset With Reload Clicks And Abrupt Restarts. The Ep Closes On "love Recirculation' A Cartoon-ish Barrage Of Wooden Perc Just Keeps On Pushing While Synths Wow And Moan All Over The Shop. Killer Minimal Funk Throughout That Is Sure To Build A Smile.

Franco Micalizzi CHI SEI(Four Flies Records - FLIES 17)

LP 180gr. Limited Edition 500 copies

liner notes byALFONSO CARRILLO (Rendezvous, LA)

lettering & artwork restoration byLUCA BARCELLONA

Considered one of the finest and most successful works composed by Franco Micalizzi. A 500 limited-edition LP which includes two tracks never before released on vinyl, a reworked painted lettering title designed by Luca Barcellona, and extensive liner notes by Los Angeles'RendezvousDJ/film event founder, and Four Flies collaborator, Alfonso Carrillo: "A film score that was quite unheard of in horror - a funk and disco-tinged soundtrack, with a sound reminiscent of a blaxploitation film. Director Ovidio Assonitis'Chi sei(1974, American title:Beyond the Door) offered horror fans both a familiar sto- ryline and a stylistically unusual score. Recorded in the States, and using American session musicians, Micalizzi created one of horror's most unique soundtracks. He utili- zes soulful lead vocals (sung by Warren Wilson) along with sax and synthesizer, both of which are featured prominently on the score. Along with superb percussion work, this soundtrack features virtuosic musicianship by top session players and easily stands up to the test of time. This was an early foray into the world of soulful funk and an early in- dication of future-funk to come from the maestro". Alfonso Carrillo (Rendezvous, LA)

One of Australia's most dynamic up & coming acts acts, The Goods have become vital members of Sydney's rising soul/electronic scene in just a few short years. With word spreading internationally and the band recently joining forces with Brooklyn-based label Bastard Jazz Recordings, The Goods are gearing up to release their hotly anticipatedMake Your MoveEP as they put the finishing touches on their debut album out later this year.

Consisting of founding members Badmandela and Rosario, along with the more recent addition of vocalist Black Tree, The Goods first burst onto the scene in 2016 with the release of their self-titled double EP rooted in a steady stream of hip-hop, space funk, low slung house and soul. Recognised by outlets such as Complex, MTV, VICE and Indie Shuffle, The Goods have also been heralded for their smashing live sets, sharing stages with the likes of Oddisee and Onra, in addition to highlight performances at various music festivals.

TheMake Your Move EPdocuments The Goods' exploration into faster tempos and broken rhythms, and was created in a much more collaborative spirit than their previous work. With Black Tree now an official member, the trio has tapped back into their roots as improvising musicians, with experimentations and ideas developed during their live shows making their way back into the studio, and fine-tuned into the tracks on this new EP.

Led by the bumping, soulful vibes of singles "Make Your Move" and "Glow", the new EP is an exciting taste of what's to come from The Goods in 2018.

From the church to the library, it's now time for 'A Sweet Excursion', courtesy of our favourite French funkateers, DJ Soulist & Fulgeance aka Souleance, offering up three tasty edits to feed the dancefloor.

'Fantasie' opens the set with an idyllically relentless rhodes-riff riding a slice of sugary boogie, with a super squelchy bassline and a healthy layer of disco percussion spread on top, for those with a sweet tooth.

The righteous horns of 'Lord' blaze into play next accompanied by a 4/4 disco kick, before the sugar rush kicks in and the band let loose an almighty groove. Even a soulful set of angels begin to sing, guaranteeing this one will bring out a lil' bit of that holy ghost within.

We end out with 'Funkin' which does exactly what it says on the tin. A solid five minutes-plus of delectable heads-down funk containing all the right ingredients, and the French duo's own special sauce mixed into the pot for good measure.

With a decades worth of collaboration behind them, and persistent party rocking at festivals and clubs, Souleance continue to create tried & tested moments of sweetness on dancefloors across the globe. This three-tracker is no exception, and makes this another essential one for the record bags.

'A Sweet Excursion' is released on Excursions on Friday 29th June 2018 on limited three-track vinyl 12" only.

After three major releases by Tell, Nachtbraker and S3A, its time for debuting Italian artist Verner to close our beloved Trophy Quartet. This Milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. Long stretched pads, playful chord progressions, organic percussion all produced with analogue 70's and 80's vintage synthesizers and drum computers in Verner's studio reminding us a bit of Harvey Sutherland and Nu Guinea's style. We're talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully A&R'd by Nachtbraker.

Drop the needle on the A side and you'll start off with L'inizio, a majestic piece of synthwork. Hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80's tv series. Upset takes you on a happy groovy tour whilst Crash of the Web Era and The Motion Pictures take us on a trippy and ambient voyage that is hard to wake up from. When flipping the record to the B side, Verner is stepping back into the groove and funk with Tecladista, arguably the dance floor hit of this debut EP. Starting of with again a majestic synth intro Area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. Closing this versatile EP is Late Night Job, a deep, deep tune with a thriving baseline and mesmerizing synths.

We suggest to don't sleep on this one and have a listen to this piece of art by the very talented Verner.

MotorCity Wine Recordings returns in fine style with its second EP featuring a swashbuckling blend of house and jazz sounds from Detroiters and their compatriots. Rising live techno star Haz Mat leads this 12' with a house-tinged boogie funk cover of Blue Six's Music & Wine', complete with vocoder and massive drums. Kuumba Reunion Band slides through next with the Afro-Jazz number 3 Fingered Fist (Jabbar)', a cut loaded with hand drums and chunky saxophone solos for the jazzdancers and listeners alike. MotorCity Wine guest and London native Aroop Roy kicks off the flip with a dubbed out beatdown house joint, a brilliant midtempo track perfect for the dread moments of the night. Last but certainly not least, The Hughes/Smith Quintet finish the release with an uptempo Jazz-Funk piece, with generous amounts of Fender Rhodes and call-and-response melodies. Only 500 vinyl pressed— enjoy the soulful sounds of Detroit.

Very little is know about the apparent duo Stevens & Foster who had this self produced release in 1977 on the Jerri Records label from Atlanta, Georgia that had national distribution though T.K. Productions Inc. Nevertheless original copies are now very scarce and crazy expensive. For decades, the B-side's piano intro has rescued a DJ's dancefloor all over Europe, with it's seductive qualities of lush strings, muted Wah-Wah, simplistic but addictive piano fuse into a must gulp down cocktail of soul delights. In more recent times it is the A-side, that formerly lived in the shadows of that essential DJ tool, is also gathering a strong following, using the same instrumental approach but taking the pace right down. Ballad fans will immerse themselves in the real feelings the girl lead projects as she gets more poignant the deeper she gets into the lyrics. Fully restored and officially licensed, this is your chance to obtain this great soul and funk record as a top quality European re-press at a regular price.

Maurice Moore's 'Maurice' is remastered from the original 1/4" studio tapes and available as an official limited vinyl reissue for the first time exclusively on Backatcha Records. 7-track LP with artwork and insert. Limited to 300 copies with original cover portrait by artist Clarence "Pencilman" Pointer.

Recorded in March, 1976 at Pegasus Studios in Maurice Moore's hometown of Warren, Ohio, 'Maurice' personifies what Moore calls the 'Town Sound'. A family soul funk affair with no label constraints, absorbed in the local scene and written, produced and arranged by himself. Moore originally pressed a handful of LP's to pass around sparingly as a demo with only a couple of copies ever re-surfacing. Now made available again from Moore's master reel via London-based Backatcha Records. Includes the sought-after uptempo percussion-led backstreet funk of 'Freeway' and the original cosmic synth-ladened slow burner 'Everything
That Shines Ain't Gold' (the blueprint to the alternative version appearing as a reissue in 2017 on Floating Points' Melodies).

Artist and musician Alex Puddu, whom many already know for his "Danish Pornography" series and solo records, has written and produced the second album for his soulful band The Moonfires. A second coming that showcases strong R&B classic melodies, Afro vibes and tight funky grooves that take the listener up to a level of great bands like New Birth, Ohio Players, Mandrill, and Black Heat. This is Alex Puddu at his groovest!!!

Official Mr Bongo reissue of the ultra-rare album by 'Super Elcados'. A fusion of heavyweight Nigerian funk, soul & disco, originally released by EMI Nigeria in 1976. The 'Super Elcados' (and 'Elcados' on other recordings) recorded three albums in the mid and late-70's, this is their first. It was followed by 'This World Is Full Of Injustice' and 'What Ever You Need'. Licensed from Geoffrey Johnson (Elcados), courtesy of PMG, with special thanks to Dave Hill for his help.

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.

Following the success of Joey Negro's 'Produced With Love' album, four of the album cuts get the remix treatment from an all-star cast of producers each with their own particular flavor.

Kicking it off Chicago legend Ron Trent takes the original funked out, Arthur Russell flavoured, 'Distorting Space Time' and turns it into a deep house groover complete with a strong walking bass alongside adding a soul & richness to the elements that only he knows how. Crackazat step up next to take on 'Lactican Boogie' crafting it into an uptempo piano driven, emotionally charged stomper sure to do some damage this summer.

Flip it over and Lay-Far delve into 'In Search of The Dream', adding squelchy synth stabs and a deep bass to give a more hard hitting edge to the track whilst retaining that disco flavor with Angela Johnson's emotive vocals.

Closing out the e.p. Fouk come full circle, bringing their hazy, jazz tinged style to 'Distorting Space Time' - building the remix around those warm Rhodes chords, shuffling rhythm and dynamic bassline.

Gold once again from the Z Records camp!

BLACK BONES are certainly having something of a purple patch, so what better way to celebrate their regal success than with a purple edition in the best-selling series !

More awe-inspiring archeology afoot here, as we're treated to another invaluable 4-tracker taking in heavyweight Funk, a fired up freestyle beatdown, strobelit, leather-clad Disco and Folky outdoor Balearia

Limited, hand-stamped vinyl 12"

This holly grail album has been transformed into a 45s collection. Dynamite Cuts releases a high quality limited edition 1000 copies double pack 2x7' release which gives you 4 of those masterpieces from that album. two never before on 7' vinyl all of the most in-demand tracks.

Track A1 - windy C' This Amazing Track That Delivers A Funky Melodic Bass Groove And Great Arrangement - Full Length Version
Track B2 - puppet On A Chain' First Time On 7' This Under Rated Soul Track, Gets Me Every Time.
Track A1 - no More City, No More Country' This Track Has Been Edits To Fit For The First Time On 7', Another Funky Gem, Fav
Track B2 - hole In My Shoes' My Favorite Track From The Album. Killer Groove And Vocals So Happy It's A 7' Now For The First Time

As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.

The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.

'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.

'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.

We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.

the producer, multi-instrumentalist, DJ and record collector Gabriel Cyr AKA Teleseen releases 5th album 'The Emotional Life of Savages' via French imprint Goldmin Music.

African rhythms, Latin heat and otherworldly electronics collide like neurons, processed through a New York state of mind. The pancontinental sounds are mirrored in his own life, which has oscillated back and forth between various countries.

A jazz background combined with a love for house and techno are ingrained in the grooves. Also key is the samba, baile funk and MPB that inspired him while living in Rio de Janeiro, plus the sounds he reabsorbed on returning to NYC's club scene.

This wide range of influences spanning the global underground coalesces into a rich, vital and coherent whole. Warm and soulful, but also evoking an intoxicating, heady atmosphere, the hypnotic and ultra-rhythmic tracks subtly shift and build to fever pitch, due primarily to deft polyrhythmic drums and percussion - both played and sequenced.

"Working on this record I finally found myself able to manifest a certain sound I'd been hearing in my head for years, combining the rhythmic intensity of afro-house and afro-Brazilian music with the more cosmic sounds of Detroit and deep house", explains Cyr on his musical vision.

The gentle sundowner glow of 'Myrtle Avenue' with its textured synth waves and wandering Parrish-esque keys acts as a precursor to the potent nocturnal adventure to follow: 'Espelhos' captures a similar essence to Black Science Orchestra's classic 'Save Us (The Jam)', before the heat goes up and heads go down for the eastern-tinged, autotune-laden fire of 'Khalil'.

The album then intensifies further still on the percussion-heavy, big bottomed cosmic throb of 'Jaguar', whilst Brazilian flavour meets tech house rush on 'Fundos', before the party reaches its feverish close on the wiggling batucada- meets-tribal-house of 'Temporada De Seca'.

Born in the north eastern United States, as an adult Cyr has always been nomadic. He has sought to live and immerse himself in other cultures and absorb their sounds, but eventually always succumbs to the Big Apple's magnetic pull. Back home, a key inspirational catalyst for the album was the Brooklyn-based party Africainoir, where he's a resident DJ.

Alongside cutting his teeth producing illbient/hip hop and working as an engineer, he ran his own studio for period, before starting his own label Percepts, on which to release his dub techno style debut. He has since released on 100% Silk, Boomarm Nation and Feel Up Records, and now 'The Emotional Life Of Savages' marks Teleseen's first album for Goldmin.

Iberian Juke Is Extremely Proud To Present 'take Me Back To The South', Sophomore Album By Label Founders Bsn Posse And Our First Ever 12" Vinyl Release. After Their Debut Lp 'forever' For British Label Slime Recordings 2015, The Duo From Málaga Has Been On Quite A Strong Form With A Handful Of Powerful Releases Including Several Eps For Iberian Juke, Modern Ruin Records, Below Music And Breaking Bass, The B-sides, Bootlegs And Remixes Project 'summer Madness Series', And Incursions For Label Imprints Sequel One Records, Hyperboloid Records Or Vandal Records.

With This Album Bsn Posse Want To Reflect Their Love, Respect And Passion For The Footwork Culture In General And For The City Of Chicago In Particular, With Its Guetto Suburbs Being The Origin And Starting Point Of The Juke And Footwork Movement. 'take Me Back To The South' Combines Masterfully In Eight Tracks Elements Of Jungle, Drum & Bass, Soul And Funk With The Classic Juke And Footwork Take At 160bpms.

The Lp Is A Sincere 'thank You' From The Duo To All The Humble Artists That Work Extremely Hard To Put Footwork Into The International Electronic Music Scene. Thanks To This Culture We Have Travelled To Incredible Places And Meet New People With The Only Aim Of Sharing Our Passion For The 160bpms.

For its third release, Here To Hell welcomes Melbourne (via Adelaide) veteran, Rambl, and his incredible groover 'Doss'.

This third release on the label happened purely by surprise, and what a discovery! The track itself is no accident, but the signing took place after a chance encounter. Richard Campbell aka Rambl, who is one of Melbourne's best and most consistent DJs since the last two decades, had developed a small cult following of viewers via facebook, where he had been providing live video coverage of Australia's wild weather in a kind of comedy-weatherman format. Once these updates caught our attention, the magical facebook algorithm placed all of his content at the top of our feed.

One day his video moved away from the wild South Australian coast and into the studio. Rich - who we also know for his huge stature akin to an NBA basketballer, and his brain for Mathematics and Computational Biology - was bopping that giant brain up and down and making his 'bass face', with a mixing desk and some speakers (and some beers) in the background. The soundtrack to this video was completely mesmerising. We sent him a private message immediately: 'what the hell is THIS!!!'

His reply: 'This is one of mine, it's not finished yet but it feels good'. Our reply: 'It feels INCREDIBLE!!! Finish it and let's put it on wax!'

So today we bring you 'Doss' and we expect you'll love it.

On the flipside we've invited another Melbourne man, Sly Faux, to demonstrate why he's appearing in the playlists of Richie Hawtin and Maceo Plex, and why his EP on Nicole Moudaber's Mood was a bestseller. He's also just remixed The Presets and continues to impress with his tight productions. Sly Faux's remix takes the original Detroit-inspired techno-funk and twists it into a different kind of main room banger.

After their Butterfunk EP from last year, Fouk are back again with their new offering 'Mating Call EP'.
As the name suggests, this three track EP is made for the hot & heavy moments while dancing away, during those infinite summer days. The title track 'Mating Call' is a funky beast, driven by a very infectious bassline and live instrumentation, edging the line between disco and house, as has we have come to expect from the duo. The next track on the flip furthers the fact that this release is all about the groove. Housey vibes with a classic hint, Rhodes floating on a solid rolling funk bass. 'Just Feel Good' Yup! Finally we come to 'Down Below'.
You might wonder "what's down below". Well, there you can find a dreamy thumper, driven by the compact kick, repeating drone and deep bassline, while the synth pads in the middle tie it all together.

"The art of the future, therefore, will not be poorer, but infinitely richer in subject-matter. And the form of the art of the future will also not be inferior to the present forms of art, but infinitely superior to them. Superior, not in the sense of having a refined and complex technique, but in the sense of the capacity briefly, simply, and clearly to transmit, without any superfluities, the feeling which the artist has experienced and wishes to transmit." - Leo Tolstoy, "What is Art"

This statement can be made of Lucky Brown's attempt to "briefly, simply, and clearly" capture the feeling of the sound, soul, smoke and soil of the Texas Hill Country with his upcoming album "Mesquite Suite".

A little more than one year after the release of his firebrand "Mesquite Beat/Justice" single on imprint "Tramp Tapes" (TR-1040) Lucky Brown offers us here another glimpse into the sound and concept of the Mesquite Suite.

Saints & Beggars is a rustic pentatonic horn-led 6/8 anthem that builds upon a simple primitive melody assembled from two opposing figures set against two repeating figures. Brown conceived the motif while in meditation in a yoga-turned-composition studio in San Marcos, Texas. He later delicately draped the parts around it like woodsmoke. The overall effect of the composition is one of economy and restraint - nothing could be added or taken away. The horns, guitar and vintage electric combo organ begin in unison and then the figure brazenly explodes like a flock of white winged doves from a pecan tree in humid dusk. Here are featured extemporizations from Jason Cressey - trombone, Peter Daniel - saxophone, Colin Higgins - guitar, and drummer Ollie Klomp, with an exposition of open horns in the climax. The tune is drenched in shitty reverb which engenders a mysterious dimension begging the record diggers' favorite questions: "...when is this from", "...where is this from".

'Bout To Blow, remaining uncompiled in the upcoming "Mesquite Suite" (exclusively released on this single only), is a specimen of the generic Deep Funk on 45 that lit a fire in Lucky's heart more than 20 years ago. The use of the word generic here is not meant to be derogatory. Rather, it is to transmit the sense that this tune falls squarely within the confines of the so-called Deep Funk canon. 'Bout to Blow offers classic dancefloor essentials: driving bassline, hard drum beat, chanky guitar, and outrageously distorted horns fiercely executing a devastatingly primitive horn line. Also, for devout followers of Lucky Brown's recorded work, there is hidden in the bridge an easter egg in the form of a self-referential quote: the bridge of 'Bout To Blow is also the head of T.D. & The Jimmy James 3's "Jalapeño Pep" (TR-1025)!

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people. Could this be the "art of the future" that Tolstoy wrote of in 1904

Key-selling points:
- "Bout To Blow" is available on this 7" release only
- "Saints & Beggars" is taken from the forthcoming album "Mesquite Suite" (out september 2018)

Never one to be constrained by musical genres, multi-instrumentalist, composer and producer Adam Gibbons (aka Lack of Afro) has taken it up several notches with his sixth studio record 'Jack of All Trades', a multi-genre tour de force that combines soul, funk, hip-hop, disco, rock and everything in-between, all wrapped up in his signature chunky production to create arguably his finest work to date.

The album is blessed with some incredible vocal performances. Regular collaborator Elliott Cole, Nick Corbin (formally of New Street Adventure), ex I Am Giant vocalist Ed Martin, Wax & Herbal T, Alyssa Marie, Camila Recchio, Juliette Ashby & Emma Noble are all on scintillating form on an album that is crammed full of infectious hooks, top musicianship, and more importantly, vibe by the bucketload!

Classic soul ('Back To The Day', 'Reach Out'), hip-hop ('Back In Business', 'Take It Up A Notch'), disco ('Only You & Me'), rock ('Over & Out'), modern soul ('Baby Be Mine'), folk ('Home') and a healthy dose of funk ('The Messin' Around Intermission', 'Good Love'), all combine to create an album that is stuffed with gorgeous phonic gems of all varieties and represents a definite step up from anything he has done before.

Packed full of beautiful horns and lush strings (and all recorded onto tape through a 1970's mixing desk), 'Jack of All Trades' is Adam doing what he does best and then some - blending the old and new to come up with a crossover classic that's entirely his own, whilst all the while ensuring that the songwriting takes centre stage.

Lack of Afro continues to go from strength to strength. 2016's 'Hello Baby' picked up a BBC 6 Music 'Album Of The Year' nomination & appeared in the Top 10 of the iTunes R&B / Soul chart in 21 countries worldwide.

His music also continues to be in high demand across all aspects of film & TV by networks such as ABC, Fox, NBC, Sony Pictures & the BBC. More recently he has signed to licensing label A Remarkable Idea, an imprint of Universal Music alongside artists such as Maximo Park, Pulled Apart By Horses, Alt J & label boss Benson Taylor. A remix of his 2011 song 'P.A.R.T.Y' by French duo Ofenbach (released on Warner Music in March) is all set to be one of 2018's tracks of the year, whilst his debut album 'Press On' (2007) has just been given 'classic' status by Future Music Magazine.

'Jack of All Trades' is supported by a live band UK tour in May & also at various festivals throughout the summer.

Africa 45, number 17
Fathili & The Yahoos came from Kenya. Soulful but raw, mid-tempo afro-funk. Licensed from Melodica music stores courtesy of our great friend Abdul Karim. The Wings were a Nigerian band. 'Gone With the Sun' featured on their 1974 album 'Kissing You So Hard' and fuses bluesy disco, funk and soul moods with quirky synths and effects.

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

Officially reissued at last! Considered by many to be a genuine 'holy grail' of soul & funk. Featuring 'Miracles' as sampled by Public Enemy, Basement Jaxx, Arrested Development and many more.

Originally from Compton, Los Angeles, the Jackson Sisters were one-hit wonders who briefly shone and made some noise in the early 1970s before quickly fading into obscurity. Their only US chart entry was 'I Believe In Miracles,' a funky slice of bubblegum soul with a catchy, sing-along chorus released on the Prophesy label that briefly saw them make the lower reaches of the R&B charts in September 1973.

FLIES 45-05

NICO FIDENCO Eternal Anguish / Come Back! Rhythm
taken from the movie Emanuelle - Perche´ violenza alle donne - The Degradation of Emanuelle (1977, Joe D'Amato)
7'' Limited Edition 400 copies

At last available on 7" two of the more danceable tracks of the wholeBlack Emanuellemusical canon, written by the celebrated dream team Nico Fidenco (composer) and Giacomo Dell'Orso (arranger and conductor) for legendary cult director Joe D'Amato.

Sensually haunting synths, hypnotic drums, and mellow and persuasive bass lines. A unique disco sound that will have DJs around the world rejoice!Funky Emanuelle for your pleasure!

The world has barely recovered from the previous sting of the Scorpio Man, when he lands in another dose. "Cold Turkey Time" from Ernie Hawks' debut album gets a single treatment here arriving back to back with the 45 only track "Tracking Down". The latter should make the b-boys move even if heard in the relaxing steams of a Turkish bath, where its breezy melodies eventually point at.

"Cold Turkey Time" is a serious slab of jazzy funk that shares many of the exotica qualities of its partnering side. It might sound nice, while driving a fine European sports mobile down on a spiraling mountain road, preferably in a 60's dandy state of mind. The eerie wordless vocals at the end tie the package together so nicely that Dario Argento could have made a scene out of it.

The continental vibes emanating from this vinyl single are bound to appeal to rare groove fanatics and secret agents alike. Ernie Hawks and his merry bunch of professionals are on a mean streak here, so keep listening.

In ancient LDDLM times, BLDDLM even, Belgium could well have been the freaky house and ecstasy center of the world. If only we could remember all the lost hours... But after all, as the Brussel saying goes: 'it's Friday, tomorrow is Tuesday'.
At LDDLM, we try not to reminisce, that was just setting the mood.We are very happy to welcome ARTHUR JOHNSON in our non-fold, a young producer from Liege via Marseille and La Dame Noir. AJ is amongst those ever mutating artists, his u-turns slowly composing a real personality, and one fitting our contrarian attitude. In a way PERFECT STRANGER reminds us of a good 90's Farley/Heller remix, not so much camp Fire Island than almost sweaty late night trancer. We love those tracks that do not fit our ethos a priori but that we can't stop playing. COSMO VITELLI is a long time family friend and he beams up this stranger through the axis into some kind of romantic italo-german anthem.
BALLADA and SECRETARY DISCORDIA show a different side of AJ, a dub march echoing Dif Juz and a percussive machine funk number. We sincerely hope AJ keeps on straying for the best, his way being our way.

Örtmek comes back round, presenting another vinyl only pressing of three invaluable edits of vintage Turkish funk, rock and disco delicacies. Following the raw, percussive experiments of the first release. Opening track 'Özil Dans' rains down crashing cymbals and freak-out-worthy wah guitars, maintaining an irresistible and authentic groove that doesn't falter for five minutes of Eurasian hypnosis. 'Dokuz Sekiz' weaves traditional string elements alongside bursts of wild chanting. Finally, 'Mozart'in Davul' stitches a frantic, dense rhythm from the fuzz and feedback of an unknown slab of Turkish psychedelia.

Top modern soul / Disco spin thats goes for big money, licenced from Moses himself, disco funk banger leaning more to the disco side, big spin for all the usual disco suspects, this one will fly.

Two northern soul dance floor destroyers that rocked the dance halls of the 1970's. Roscoe & Friends powerhouse instrumental Broadway Sissy' has been a perennial favourite for the last 40 plus years and can rightly lay claim to being regarded as a northern soul classic. While Robert Tojo' Barnes falsetto dancer Broken Hearted Lover' rose to prominence under the cover name of Ann Perry Have You Ever Been In Love' in the later days of Wigan Casino but fell away during the ensuing years. That is until recently when some of the more adventurous northern DJ's who look to reactivate titles which still have some life in them are giving Broken Hearted Lover' it's well deserved second coming. The Broadway Sissy' too is enjoying more widespread popularity having crossed over and found a new audience with the funk scene.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

The First Maxx Rossi Solo Ep !! After More Than 30 Records It Was High Time. And, At Least, On His Own Mlabel... For The... Helas, Last One Ever !

Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil's Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos 'Baiano' and 'Paulinho Boca de Profeta' poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

Soul Jazz Records' latest album 'Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria' is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. 
The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.
Watch out for a limited edition remix of the project by Osunlade, also forthcoming on Soul Jazz Records.

Taken from Gabe Gurnsey's upcoming debut solo LP, 'Physical' on Phantasy, 'Eyes Over' zones in on a proto-Hacienda groove that's undistilled militant funk, loose and lucid elements of electro and dub-laden drums conspire to offer an alluring landscape for Gurnsey's restless vocals. The harder-hitting Extended Dub takes more precise aim at the dancefloor, allowing each disparate, analogue element more room to unfold across a throbbing baseline.

Beath presents his debut album 'Dreams From Last Night'. A conceptual album in which the spanish producer brings us closer to different sounds that would be part of any day in a luxurious tropical paradise. The 8 tracks included in the vinyl would revolve around the smooth funk with a clear influence of the sounds of the 80s. In addition, the artwork of the album includes the cover illustration by the japanese designer Yoko Honda.

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

A continuation of his kaleidoscopic sun-dappled cosmic-disco, Neon Leon was the much-loved CD-only sophomore album by Sorcerer. Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

A perfectly formed suite of ten tracks featuring soft guitars, subtle synths and lightly grooving percussion, Neon Leon magically evokes that elusive summer feeling throughout. The guitar-driven "Algorhythm" serves as the album opener, blasting bold, sun-drenched jazz chords atop bright synths and groove-based drum programming. "Ride The Serpent" and "Distort Yourself" are guided by a more sultry, slo-mo disco impulse whilst the staggering "Chemise" and strident "Face It" merge 80s West Coast production sheen with Sorcerer's trademark laid back, gentle disco. "Raydio"'s undeniable head-nod groove adds a rare vocal to the proceedings, joyously combining with the bubbling cosmic funk.

Since its initial release in 2009, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"Neon Leon's is the name of a bar in a Elmore Leonard book I was reading on a vacation to Belize with my future wife. I was soaking up his brand of noir during the making of the songs on this record, along with another favorite Ross Macdonald. We were living in a small apartment in the Mission District of San Francisco where i had my own room to jam. It was painted Orange and Turquoise and was a very inspiring place to create and focus. I could walk out of my house to any number of hole in the wall bars where people were deejaying, hanging-out, and knew about me and my music.

After White Magic I developed more confidence in my style and process so I stuck with it and I believe it shows in the tunes I selected for the record. The sounds are rich and I dug deeper into sampling from obscure dollar records and getting looser musically. I made a handful of collage videos for the tracks at this time as well, which represent where my mind was at visually. In my mind it's Cosmic Funk that rules the day and I am thankful to have the opportunity to share it with the world again."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

WHEN YOU'VE FINISHED LOOKING AROUND THE WEBSITE, YOU CAN FIND US ON THESE SOCIAL CHANNELS

As we enter the Summer months, Excursions welcomes back The Showfa, with A Gospel Excursion Volume Two. Four more dishes of hot spiritual gumbo for your mind, body & soul.

Once again The Showfa has expertly cut together a concoction of gospel, soul, disco, latin, jazz, funk, and spiritual rhythm & blues. The glorious disco rework of a track called 'Amazing' sets the tone with an infectious piano riff and powerfully uplifting vocal. 'Surely Surely' follows, with a more vigorous strut, a short, sweet slice of disco funk, no messing about. 'Praising' keeps the groove and tempo solidly in a delicious eighties boogie formation, slap bass and sax in tow. The set closes out with beautiful latin-jazz tinged vibrations sauntering through 'I'll Show You The Way', before switching to the sweetest sweet soul you ever did hear. Soul food of the highest calibre.

The previous volume was shown love last year by an assortment of selectors and tastemakers, including Tony Humphries, Horse Meat Disco, Gilles Peterson, Craig Charles, BBC 6Music, Mi-Soul, Rinse FM and Mixmag, and also saw The Showfa spinning on the airwaves on NTS with Charlie Bones, and for Wax Poetics.

Another joyously ethereal platter, and another one that will never leave the box.

Co´meme writes a new chapter of its own history, introducing a new artwork, a new logotype and new music starting with these three Various Artists EPs. We have decided to call it 'Solidarity Forever' as a motivator for our everyday actions, and as a reminder of why we are doing what we do.
These 12's will introduce artists new to the label, new collaborations and new approaches from Co´meme members already familiar to you.Volume One will feature tracks by MATIAS AGUAYO, KATERINA, DANIEL MALOSO x RED AXES and GLADKAZUKA, you will be able to hear heavy modern latin riddims, technotic melancholia, lysergic disco fantasy and post internet underground funk - utopian music against dystopian times.And this is only the beginning.

Classic funk-soul album, featuring "Misdemeanour". Sampled by Madlib, Black Milk, Pete Rock, Big Daddy Kane, Danny Krivit and more.

Brilliant funk-soul from 1973. Written by Leon Sylvers III, and produced by a heavyweight line-up comprising Jerry Butler, Keg Johnson and Michael Viner.

Official reissue in replica of original artwork

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

Deep space techno electro on TRUST celebrating the label's year XX. /DL/MS/ is the viennese duo behind recent Frustrated Funk outing, 'Omakuda', last year's TRUST29, 'Rogue Intent', as well as one of the most-played electro tracks of 2017 - their remix of Second Storey's 'Attack Of The Modlings'. 'Exit Ghosts' takes the /DL/MS/ sound far into haunted new orbits, trading some of its earthy rumble for more ethereal emanations. stark and sombre bass signals return, but find themselves enveloped in delicately threaded string anomalies, copious amounts of melodic ectoplasm, and spirit-like liquid funk dilutions. Vinyl 12" contains three locked grooves and ships in new TRUST XX color sleeves.

æ Productions are pleased to present the new single by Truck featuring Phill Most Chill - 3,665.

Original AE co-founder Truck is back with a new album coming soon and delivers a taster with this lead off 7' single featuring fellow AE Productions recording artist and Hip Hop legend Phill Most Chill. 3,665 refers to the distance between Truck and Phill Most Chill's home cities and the pair duel brilliantly over a heavy beat by Sir Beans OBE (The Aroma/Parlour Talk/Ruztik Records). No chorus hook nonsense here but Mr Fantastic supplies some sharp cuts to complement the MC's.

The B-side is the 'Raw Skeleton Version' of Right or Wrong - a special stripped back version of a track from the forthcoming album produced by Mr Fantastic which will not to be released elsewhere. Truck flows effortlessly over the DJ friendly obscure Funk groove.

Available on black vinyl 7' in a run of 350 retail copies in full colour sleeve designed by Mr Krum.

For his third album for Far Out Recordings, London based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement 'Palmares' in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and features Azymuth drummer Ivan 'Mamao' Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel.

Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee, and having been turned away from Guildhall School of Music for being 'too raw', he became disillusioned with what he saw as the exclusivity, elitism and dangerous institutionalisation of the jazz world. Yet Sean's love for music and the drive to create never faltered.

Hermeto Pascoal, the man Miles Davis once dubbed the most impressive musician in the world', is a similarly independent artist. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

Aspiring to inclusivity and equality also informs the message in Khan's music. Inspired by the 17th Century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while majoritively made up of escaped African slaves, many deserter conquistadors also joined the settlement.

Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, rhodes and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. 'Moment of Collapse' is Sean's poetic study on the uncertainties of modern day western civilisation, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own 'Montreux' (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento & Lo Borges MPB classic 'Tudo Que Voce Podia Ser' featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros.

The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth's Fênix and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.

Fantastic' Gilles Peterson

Loving this!' Opolopo

Thank you!' Sassy J

Proper! Great track.' Colin Dale

this is great!' Yannick Elverfeld (RBMA / Needs Records)

I've enjoyed Sean Khan's earlier releases, but this really seems like he's grown into his fairly considerable talent.' Mark Sampson (Songlines)

His last album was his best so far, but I think this one may be even better.' Laurence Pragnell (Soul Brother Records)

dope!!!' Kyri (R2 Records)

this is great - really cool vibe!' Sam Redmore

wonderful track - can't wait to hear the lp.' Simon Harrison (Basic Soul Radio)

This is very tasty indeed.' Gavin Boyd (Soul Has No Tempo)

Stunning!!!' Mark Milz (Further In Fusion)

Oi Oi' Samuel Lloyd (Balamii Radio)

PRESS / ONLINE

VINYL FACTORY (UK) News (Anton Spice) 09/03/18 online

SOUNDS & COLOURS (UK) News (Gabriel Gahan) 09/03/18 online

THE WIRE (UK) Review confirmed (Joseph Stanard) print

EVENING STANDARD (UK) Review confirmed (Jane Cornwell) print + online

ECHOES MAGAZINE (UK) Review confirmed (Laurence Pragnell) print

LIBERATION (FR) Feature confirmed (Jacques Denis) print + online

MUSIC IS MY SANCTUARY (CA) Premiere confirmed (Mike Jones) online

JAZZ MAGAZINE (FR) Review confirmed (Frederic Goaty) print

SHINDIG! (UK) Review confirmed (Grahame Bent) print

MUSICA MACONDO (UK) Premiere confirmed (Tim Garcia) online

RAWCKUS MAGAZINE (USA) News (Randy Radic) online

KIND OF JAZZ (UK) Review confirmed (Fernando Rose) online

TONART MAGAZINE (DE) Review confirmed (Michael Moehring) print

WORLD MUSIC NETWORK (USA) Review confirmed (Raul Da Gama) online

BADD PRESS BLOG (USA) Review confirmed (Kevin Press) online

ORKESTER JOURNALEN (DK) Review confirmed (Patrik Sandberg) print

LIVE

WORLDWIDE FM (UK) Sean Khan live session confirmed (Gilles Peterson)

RADIO

BBC RADIO 6 (UK) Gilles Peterson - Palmares Fantasy (24/02/18) link

OTHER

BRITISH AIRWAYS On board BA flights (June 2018)

2023 Repress Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”; the heartfelt tales and truths of “Welcome To The Ghetto”; and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive; “1-800 Spice” brings reggae flavor; and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

Record Kicks Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Singles. Available In Ltd Edition Double Clear Vinyl Lp, Cd And Digital Download. Side By Side With Similar Outfits Like Daptone, Truth And Soul, Freestyle Or Timmion, Under Its Motto "the Explosive Sound From Today's Scene" Milan-based Independent Label Record Kicks Has Been Pitching The Contemporary Funk & Soul Scene Since Day One.

With Over 200 Releases Under The Belt, Rk Has Released Bands From All Over The Globe And Earnedthe Support Of Vip Fans Such As Kenny Dope, Jamie Cullum, Craig Charles And Not Least Jay-z, Thanks To Which The Label Has Recently Received A Grammy Nomination For Hov's Use Of Hannah Williams' "late Nights And Heartbreak" As Backdrop For His "4:44". The New Instalment "record Kicks 15th" Coming Out Next May 18th On Double Clear Lp, Cd And Digital Download, Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Tracks And The Very Best Of It's Roster.

The Album Kicks Off With Rk's Latest And Youngest Signing:
From Chicago, Heavily Inspired By The Impressions And Leroy Hutson, We Are Proud To Present You "the Devonns" With Their Super Soulful Debut Single "come Back", An Appetizer Of Their Debut Full Length Expected To Land On Rk Next Autumn. Another New Signing To The Label Is Men Of North Country's (acid Jazz Records) Side Project "the Faithful Brothers", Here With Their New Single "one More Time".

Other Exclusive Tracks Of The Comp Are "this Strange Effect", A Coverup Of The Hooverphonic's Single From 1998 Brought To You By Dutch Northern Soul Disciples The Tibbs, "love You Back" From Detroit Deep Funk Outfit Third Coast Kings, "the Sort" By The Buenos Aires Mod Reggae Kings The Crabs Corporation, "top Dog" By British Funk Combo The Hook & Slingers And Straight From Down Under "you Don't Know Me" By The Always Great Dojo Cuts.

Along With These New Exclusive Cuts, Dig On Some Label's News Singles And Heavyweight Classics Such As Dj Shadow's "this Time" Taken From Baby Charles Debut Lp, "don't Throw Your Love In The Garbage Can" By James Brown's Original Funk Diva Martha High Feat Japanese Funk Ambassadors Osaka Monaurail, "psycheground" The Brand New Afro-funk Single By Calibro 35 And Then Portuguese Tnt Dynamite Marta Ren & The Groovelvets, Toronto Soul Queen Tanika Charles, Uk Funk Ambassadors The New Mastersounds, The Diplomats Of Solid Sound And The Already Mentioned "late Nights & Heartbreak" By Hannah Williams & The Affirmations.

Recorded in Philadelphia in 1969, The Deirdre Wilson Tabac's sole album is a beautiful blend of funk, jazz and soulful pop. Possessing the complex grooves, thrilling breaks and ethereal weirdness that The Rotary Connection pedalled so brilliantly, the LP failed to connect with audiences upon its original release.

In the decades since, it has deservedly attracted a considerable cult following. However, almost inevitably, it has become increasingly tricky to pick up a copy in good condition for anything less than eye-watering sums. As such, we're delighted to present the first officially licensed vinyl reissue of this undoubted masterpiece of freaky funk-rock, limited to just 500 copies.

The Tabac were, in fact, a trio. Discovered, managed and produced by Svengali Sonny Casella (who'd earlier managed garage band The Magic Mushrooms), they comprised Deirdre Wilson, Stu Freeman (formerly of said Mushrooms) and Barbara Payne (formerly with the James Brown Revue). They were backed by session players including jazz guitarist Chuck Anderson, bassist Hugh McDonald and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman).

Their first single coupled two fine Casella compositions, each featuring powerhouse vocal workouts, the supremely funk-fuelled blues beat of "The Other Side Of Life" and the psychedelic-flavoured "Look In My Face" - both of which are featured here. This 7" picked enough up airplay to merit an album, which duly appeared early the following year, but, as is often the way with these lost classics, it received barely any press. Correspondingly, sales where low and the trio didn't last long.

And herein lies the real tragedy. The rest of the LP deserves to be heard from start-to-finish - it's that good. A beguiling mix of funky folk and rocky jazz tracks, with some deep, string-drenched harmony soul ballads and a handful of remarkable covers elegantly presented througout. Indeed, they put some sauntered head-nod funk into The Beatles' "Get Back" whilst tearing through a version of "Sittin' On The Dock Of The Bay" which gives Otis' original a real run for its money.

But the real standout cut for most - with its soulful, haunting vocals, swinging hammond organ and stabbing horns, is the incredible 6/8 time jazz dancer "I Can't Keep From Cryin' Sometimes." Staggering.

Die vierte Ausgabe der Modeselektion war längst überfällig und fällt deshalb extra energisch aus, dafür sorgen viele große Namen der internationalen Clubszene und eine ganze Reihe aufstrebender Künstler: Actress, Rødhâd, Peder Mannerfelt, rRoxymore, Sarah Farina und all die anderen setzen zwischen roughem und clever gebautem Techno, kosmischen Breakbeats und Dub- und-Bass-Eskapaden die unterschiedlichsten Akzente und erzeugen trotzdem einen starken, stringenten Vibe. Die als Doppel-CD und vierteilige 12"-Serie erhältliche Compilation enthält 17 Tracks von Künstlern, die zur aktuellen Speerspitze in Sachen anspruchsvoller Dance Music zählen - so sehen es zumindest Modeselektor, aber wann hat uns ihr Gespür je enttäuscht Wie jede Modeselektion ist die vierte Ausgabe kein schnödes Mixtape: Alle Künstler wurden eigens um passende, unveröffentlichte Musik gebeten, und das Ergebnis kann sich sehen lassen. "Wir sind stolz und fühlen uns geehrt, dass wir die Compilation genau so zusammenstellen konnten", schwärmen die Selektoren. "Volume 04 ist wahrscheinlich die funktionalste und eingängigste Modeselektion, die wir bis dato gemacht haben."

Die vierte Ausgabe der Modeselektion war längst überfällig und fällt deshalb extra energisch aus, dafür sorgen viele große Namen der internationalen Clubszene und eine ganze Reihe aufstrebender Künstler: Actress, Rødhâd, Peder Mannerfelt, rRoxymore, Sarah Farina und all die anderen setzen zwischen roughem und clever gebautem Techno, kosmischen Breakbeats und Dub- und-Bass-Eskapaden die unterschiedlichsten Akzente und erzeugen trotzdem einen starken, stringenten Vibe. Die als Doppel-CD und vierteilige 12"-Serie erhältliche Compilation enthält 17 Tracks von Künstlern, die zur aktuellen Speerspitze in Sachen anspruchsvoller Dance Music zählen - so sehen es zumindest Modeselektor, aber wann hat uns ihr Gespür je enttäuscht Wie jede Modeselektion ist die vierte Ausgabe kein schnödes Mixtape: Alle Künstler wurden eigens um passende, unveröffentlichte Musik gebeten, und das Ergebnis kann sich sehen lassen. "Wir sind stolz und fühlen uns geehrt, dass wir die Compilation genau so zusammenstellen konnten", schwärmen die Selektoren. "Volume 04 ist wahrscheinlich die funktionalste und eingängigste Modeselektion, die wir bis dato gemacht haben."

Die vierte Ausgabe der Modeselektion war längst überfällig und fällt deshalb extra energisch aus, dafür sorgen viele große Namen der internationalen Clubszene und eine ganze Reihe aufstrebender Künstler: Actress, Rødhâd, Peder Mannerfelt, rRoxymore, Sarah Farina und all die anderen setzen zwischen roughem und clever gebautem Techno, kosmischen Breakbeats und Dub- und-Bass-Eskapaden die unterschiedlichsten Akzente und erzeugen trotzdem einen starken, stringenten Vibe. Die als Doppel-CD und vierteilige 12"-Serie erhältliche Compilation enthält 17 Tracks von Künstlern, die zur aktuellen Speerspitze in Sachen anspruchsvoller Dance Music zählen - so sehen es zumindest Modeselektor, aber wann hat uns ihr Gespür je enttäuscht Wie jede Modeselektion ist die vierte Ausgabe kein schnödes Mixtape: Alle Künstler wurden eigens um passende, unveröffentlichte Musik gebeten, und das Ergebnis kann sich sehen lassen. "Wir sind stolz und fühlen uns geehrt, dass wir die Compilation genau so zusammenstellen konnten", schwärmen die Selektoren. "Volume 04 ist wahrscheinlich die funktionalste und eingängigste Modeselektion, die wir bis dato gemacht haben."

Die vierte Ausgabe der Modeselektion war längst überfällig und fällt deshalb extra energisch aus, dafür sorgen viele große Namen der internationalen Clubszene und eine ganze Reihe aufstrebender Künstler: Actress, Rødhâd, Peder Mannerfelt, rRoxymore, Sarah Farina und all die anderen setzen zwischen roughem und clever gebautem Techno, kosmischen Breakbeats und Dub- und-Bass-Eskapaden die unterschiedlichsten Akzente und erzeugen trotzdem einen starken, stringenten Vibe. Die als Doppel-CD und vierteilige 12"-Serie erhältliche Compilation enthält 17 Tracks von Künstlern, die zur aktuellen Speerspitze in Sachen anspruchsvoller Dance Music zählen - so sehen es zumindest Modeselektor, aber wann hat uns ihr Gespür je enttäuscht Wie jede Modeselektion ist die vierte Ausgabe kein schnödes Mixtape: Alle Künstler wurden eigens um passende, unveröffentlichte Musik gebeten, und das Ergebnis kann sich sehen lassen. "Wir sind stolz und fühlen uns geehrt, dass wir die Compilation genau so zusammenstellen konnten", schwärmen die Selektoren. "Volume 04 ist wahrscheinlich die funktionalste und eingängigste Modeselektion, die wir bis dato gemacht haben."

When Acid Jazz founder Eddie Piller asked Martin Freeman ('The Hobbit', 'Sherlock', 'The Office') to do a jazz radio show they could hardly imagine the response. From around the world emails and tweets inundated the show and they swore to themselves that they couldn't leave it there.

Now, two years on, this compilation of their favourite jazz has
arrived. From the rolling hard bop of Lee Morgan and Art Blakey, via screaming soul organ, jazz funk original acid jazz onwards to the post modern spiritual jazz of Kasami Washington, this is an incredible journey.

Released on double CD, digital download and double vinyl with
deluxe gatefold packaging, this is the album that will launch Acid
Jazz's 30th Anniversary celebrations.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

Lord Tusk has associated with acts like Klein, John T. Gast, Dean Blunt, Yasiin Bey AKA Mos Def, and released on Jon Rust's Levels, Funkineven's Apron, Soul Jazz Records and Low Income $quad.

Communiqué is made of breathy, glossy Sci-Fi electro, bitcrushed drum samples and Minneapolitan funk feng shui, the hits and stabs of new jack swing and FM boogie, all pieced together with a one-take energy but a meticulous attention to detail. It's songwriting for a miscellaneous kind of soundsystem music, body music, flamboyant across tempo, from the yearning thump of Shyne Eyed Gal to the puffed-up strut of Champion Lovers (sounding like a home-taped Electrifying Mojo opener), the staggered slink of Beyond Limitation's unfiltered tones to the 4x4 uptempo skid of Don't Be Shy or the veering slap-bass groove of Elevation. It's a record that shoots around corners, conjuring lazy romances and smokey vistas, lit by the nocturnal shimmer of an electrified city, streaked with gargantuan, shrill, birdlike call-and-response riffs and visited by the astral bodies of Teddy Riley, Gerald Donald, Prince.

Danny McLewin (Psychemagik) and Jamie Cruisey have a new label of original signed artists called SPIRITS. The first release is from Mexican hotness 'Lokier' of She Made Monster and 'Jason Greer' aka 'The Machine', one of the Californian undergrounds best kept secrets. They met in 2015 at a festival in London and after spending a few days together, became musically obsessed with each other. That summer, as Jason bounced around Europe, he stayed with Lokier in Barcelona for some weeks and after long night walks, some tapas and absinthe bars they came up with their first EP together.

A1 "White Room's" slo-mo headnod film score, kick starts the EP, brooding synths buzzing with electric cocaine gloss, their oscillators fluttering like cyborg butterflies around the pulsating strobelight beat. Creepy.
A2 "Stained Glass" hits tough straight out the gate with subterranean bubbling acid bass and charges headlong into deep psychedelic territory with a goth-inspired guitar, reverb on 11, turning the track into a next-level robo-Giallo monster!

B1 "Pearly Hate" begins as if a menacing swarm of bionic rave bees is slowly surrounding you, the tension of their impending drone amping up steadily as your brain thinks: Do I run This midtempo Carpenter-esque jam is atmospheric putty in the hands of sleazoned DJ's and sounds like the beginning of a long, strange trip.
B2 "Red Floor" is a chugging, barely restrained dark disco beast, flagrantly wearing its Weatherall and Neu Beat-ing heart on its tattered sleeve, elliptical melodies keeping you from your sanity with a solid drop for the dancefloor - another one for DJ's who ride it rough.

Thus completes the first release for new label SPIRITS. Four tracks exploring another corner of otherworldly analogue hedonism for extra-dimensional travel. Keep your ear on "Red Floor", as its potential for dancefloor uplift is proven and Machine-ready! Stay jacked in for more missives soon...

Ivan Smagghe:
"When your best Mexican chola low-rider meets our favourite Californian mechanic, you get a proper slice of (Lokier and) Machine funk. This is grease electronics, black leather under the very dark sun of 'Pearly Hate' or in the bright isolation tank of 'White Room''

Since his 2015 Night School debut E.P. Nouveauree, James Donadio - aka Prostitutes - has been traveling stages and rigs from Los Angeles to Berlin, from prestigious festival slots to slimy Glasgow basements, burning his own path through the modern techno and electronic scenes. On Aluminum Garage, Donadio is at his most playful, laying down unmistakably mid-tempo BPM early-electro jams indebted to early sampling before crashing the soundsystem with frantic, detourned Gabber. Unlike his previous LP for Spectrum Spools or indeed his Night School debut which rankled with austerity and minimalism, here Prostitutes is instinctive, multi-layered and unashamedly, brilliantly borrowing from myriad genres.

In past 3 years, Donadio has racked up critically praised releases on labels like Diagonal and CGI, refining his wares into a precise, bludgeoning toolkit that surprises and develops with each release. Aluminum Garage creeps into life with Born Wanderer, before a sub-heavy kick and bongo pattern blasts into a heavy break that feels like the earth moving from under your feet. With the utmost clarity, the track builds disparate layers - a white noise solo, warped sample piano chords straight from 1986 - into a Rave-o-matic climax, holding steady with the BPMs and immeasurably funky. Jah Elegant further blows apart any image we have of Prostitutes' music as austere' with a loping intro based on teased drum samples and a ghost MC. The Jungle break comes in by stealth before the heavy drop blasts the music into Drum + Bass momentum. It's both blistering fun and undeniably cheeky, a driving track that cuts up Remarc on a dimly lit table in suburban Ohio.

On Side 2, Errant Seagull takes the genre mess into techno territory though put through a heavily distorted grinder. Built around a skeleton of sampled bass guitar and thumping kick, the track layers drums upon drums, building in saturation until a searing synth strafes the criss-crossing rhythms. The effect is dizzying, insuring both a propellant, heavy forward motion and a grimey, angst-ridden climax. Before we're at the end of the track, the stereo field is so filthy with distortion and analogue muck the listener is desperate for a palette cleanser. Final track Shroud of Cellophane however, doesn't let up. With a ramped up BPM we're in a Cyberpunk Gabber club, nothing but 160 beats per minute, layers of frequency-tweaked noise and the light at the end of the tunnel racing towards us. It's sweet oblivion and we've earned it.

The Saqqara Ep Is A Multilayered, Sonic Canvas From The Mind Of Chris Barratt, As He Launches His New Alias, Baratt, For Life And Death. Fine Brushstrokes Move From All Areas Of His Musical Hideout, Spreading Over Five, Varied, Aural Sculptures, Each One Warping And Weaving On Its Own Cosmic Trajectory. Pooling From Key Aspects Of His Eagles & Butterflies Project, Barratt Induces New Musical Shades, Hinting At Moments Of Disco And Funk, Through A Lens Of Psychedelia. The Title Track Is A Late-night Floor-filler - A Bold Yet Uniquely Personal Necropolis Built From Riveting Delays And Arpeggiators. Time Bending Sees Dj Tennis Join In, Stepping Up With His Trademark, Rough Around The Edges Production Aesthetic, En Route To Unknown Destinations. Barratt Hones-in On A Confident, Stripped-down Style On Khaos - Rhythm Versus Melody - Just In Time For Festival Season. 1983 Soundtracks A Ride To Utopia On A Rocket-fueled Vespa, Leading To Collider, The Land Of Un-quantised Madness, Where The Most Treasured Of Synthesisers Live Amongst Their Drum Machine Counterparts. Flowing Yet Incredibly Interconnected, Saqqara Is Best Interpreted As A Mini Artist Album - The First Of Many Barratt Offerings.

coming out of Philadelphia heem the music monsters were produced and handle by long time philly producer and writer Hubert willis. The group had small success circa 1976 with their psych funk 45 "wake up people"/piece of the rock" they recorded a few more tracks from those sessions and what lay on the reels for all these years is probably their best yet...Its just right for now. "Keep god on your side" is modern soul disco of the highest order, over 5 mins long it leads you onto the dancefloor and never lets go! Flip it over and you have one hell of a funk disco instrumental entitled " going down (incognito)". We have maintained the Blood Leaf label with a slightly new design

Discover Le Deltaplane, fifth album by Andre Solomko, and third produced on Favorite Recordings, pursuing a collaboration that started more than 5 years ago.

Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label / studio / group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released 2 albums together, Où es-tu maintenant and Le Polaroid, hailed by many tastemakers and meeting notable success in Japan.

Following Le Premier Disco Sans Toi, an acclaimed single released earlier this year and unveiling two new compositions with Disco flavors, Andre Solomko and Favorite Recordings also proudly present Le Deltaplane. Fully composed and arranged by Andre Solomko, the 6 tracks of the album are deeply infused with his longtime passion for Jazz-Funk and Movie-Soundtracks, this time also injecting more influences from WestCoast and Modern-Soul music.

Andre's backed again by a team of great musicians, recording and producing the album in analog like he always did. As for vocals and lyrics, he teams up with Charlotta Kerbs, a young emerging and talented singer from Helsinki.

Andre Solomko, an artist who spreads love like in the good old days!

Belgian DJ & producer Mugwump performs an about-face with a new sound and live show and unveils the first extract of his second album 'Drape' and it's first extract,'No Trepidation', a fast-paced postpunk/electronic hybrid and a punch in the face of conformity, formatting and self-censorship.

Borrowing his name from a character from William Burroughs' famed novel Naked Lunch, Mugwump is an elusive presence, a reputation preceded by infamous DJ residencies at Belgian clubs and a longstanding recording relation with Cologne's Kompakt records, ongoing DJ support from Andrew Weatherall as well as a large catalogue of electronic 'disco-techno' records, released on leading labels R&S, Gigolo, Cocoon, Endless Flight, Eskimo, Permanent Vacation or International Feel. Mugwump is also well known for running the Leftorium clubnight in Brussels where like-minded DJ guests such as Ivan Smagghe, Andrew Weatherall, Superpitcher, Matias Aguayo, Optimo, Prins Thomas, Sascha Funke, Gerd Janson, Ata or Roman Flügel share decks leftorium
'Drape' is the follow-up to 2015's debut studio album 'Unspell', which boasted many guest vocalists, garnered media plaudits across the board internationally and was supported with live appearances at Benelux, French, UK and Dutch festivals & venues.Taking it further and morphing into a full live band with new members, Mugwump released the 'Metempsycho EP' in November 2016 on which Geoffroy made his singing debut. Driven by this live band experience, Mugwump's new album 'Drape' will release May 4th 2018

This is the only album from The Tutt Band known to ever be recorded. The ultra rare and sought after boogie-funk LP on Spoonful Records out of Phoenix, Arizona was released in 1988, but style-wise it sounds much more like being recorded in 1983 or 1984. It contains ten very solid and good tracks - both club tunes and slow jams - that all hit the required spot. There's also some treats for all Roger Troutman and vocoder lovers. Head straight to the ultra dope tracks 'Get It On' and 'She's Got It Going'. In retrospect The Tutt Band has been one of the little known but essential groups whom created the funky and beat heavy new jack swing sound that dominated American r&b from the mid eighties and early nineties.

Ein 44 Minuten starkes Instrumental-Album inklusive eines Akere Vocal-Features.

Es ist Ansichtssache, ob ein Antlitz unfassbar schön oder besonders verstörend sein kann, sodass der bloße Anblick den Betrachter seiner Handlungsfähigkeit beraubt. Man sollte sich jedoch nie einzig von einer Erscheinung erstarren lassen.

Also heißt es:
Augen schließen und die Schönheit einer Mischung aus zeitlosen Vibes, warmen Klängen und verschobenen Rhythmen irgendwo zwischen Trip Hop, Boom Bap und G-Funk auf sich wirken zu lassen. Die Reise führt durch Höhen und Tiefen, beeinflusst von Musik aller Himmelsrichtungen und Sonderbarkeiten verschiedener Genres.

L One´s Medusa ist durchaus in der Lage den Hörer in den Bann zu ziehen. Jedoch ergibt sich dadurch keine langfristige Betäubung, sondern vielmehr ein Moment, der sämtliche Wahrnehmung der äußeren Welt an einen Ort unendlicher Möglichkeiten lenkt. Wo es hingeht und was passiert, bleibt jedem selbst überlassen. Quasi ein Mythos!

Medusa ist nach der Farska LP bereits die zweite Zusammenarbeit zwischen dem jungen Münchner HipHop Produzenten und dem jungen Münchner Label Beat Art Department und erscheint in Kooperation mit dem renommierten HipHop Label 58Beats, dem Label der Band Main Concept.

· Album presentation live @ Camden Assembly London, 13th June
· Genre-spanning UK jazz artist who has worked with the likes of Craig Charles Fantasy Funk Band, Nightmares On Wax, The New Mastersounds, and Rae & Christian
· Follow-up to the debut and highly credited La Sombra from 2017
· Features guest UK trumpeter Matthew Halsall on 'The Mirage'
· La Sombra made Gilles Peterson's 'Best albums of 2017' list, with a track included on Brownswood Bubblers 12
· Part of the Matthew Halsall live band and toured with Dwight Trible

Recorded in Madrid in July 2017, Shamal Wind combines Chip Wickham's globetrotting, spiritual jazz expeditions with hard-won schoolings in the funk. Following his critically acclaimed 2017 debut, La Sombra, the record draws on spiritual jazz influences like Yusef Lateef and Sahib Shihab, and rests on Chip's many-sided experience as a musician, spanning left-field beat experiments to hard-hitting funk heavyweights.

After the Latin and flamenco whispers on La Sombra, Shamal Wind adds some Arab-influence percussion to the mix, most notably on the title track. Elsewhere, 'Barrio 71' sees him nodding to Shihab: high energy, lyrical and absorbing, with sax and the vibraphone taking the lead. 'Snake Eyes' taps into the meditative exaltations of modal jazz, while 'Soho Strut' nods to the jazz fusion, funk-influenced side of Chip's playing.

Like the Persian Gulf winds referenced in the album title, which often mark the shift to a new season, this album signals a new chapter for Chip, opening up a newfound energy and inclusiveness in his music, and further expanding on what he achieved in the past year. "Shamal Wind" is a heavy record, built on strong foundations.

Over the past 3 decades Chip Wickham has worked, written, recorded, and toured with the likes of Rae & Christian, Fingathing, The Pharcyde, Jimpster, Nightmares On Wax, Graham Massey, Roy Ayers, Nat Birchall, The New Mastersounds, Lack Of Afro, Craig Charles Fantasy Funk Band, Matthew Halsall, and Dwight Trible.

On "La Sombra":
"This is coming from the outside, I was like whooooa, easy. Blowing hard - they got it right! Gilles Peterson
"I'm becoming convinced that Chip Wickham is a genius" Craig Charles
"An impressive solo debut" London Evening Standard
"Majesterial and electrifying stuff" 9/10 Blues & Soul Magazine
"Tonally and melodically elegant and with a distinct 1960s/1970s vibe" Scotsman

"a Heavy Selection Of Mod-rockers, Garage And Psych-funk Tracks," Runs The Sub-title Of New Compilation Series, Down In The Valley From Perfect Toy, Encapsulating In A Nutshell The Multifarious Pleasures On Offer.

Volume 2 Continues The Good Work Of Volume 1 With Yet Another Breathtaking Selection. Morning Reign's Previously Unreleased Can't Get Enough Of It Provides Big-ass Funky Thrills Along With This Volume's Only Cover - The Penny Arcade's Mod-funk Take On Funky Way. Next Come Two Frantic Garage-soul Cuts From A Pair Of Super-obscure Groups: 1906 & Company And Band Of Gold While Rex Garvin & The Mighty Cravers' Titty-shaking Instrumental Strange Happenings Slows Things Down To A Monster Shimmy With Retro Horror Movie Vibes. The Animal Show Band's Tell Daddy Provides The Male Answer To Etta James' Tell Mama And Rocks Just As Hard As The Original While Gino Scorza's Funk-tinged Soul Heater Little By Little (which He Originally Privately Pressed Himself) Gets Reissued For The First Time. Closing The Album Is A Real Treasure By Big John K In The Shape Of His Heavyweight Slab Of Soulful Blues-funk - Poor Souls.

Once Again, Chan The Man - Previously The Guiding Light For Perfect Toy's Down & Wired Series - Was The Driving Force Behind This Project. It Is His Incredible Knowledge, Combined With The Network Of Record Collectors, Djs And Vinyl Nerds That He Has Established Over The Past Few Decades Which Have Made It Possible To Come Up With Such A High-octane Selection Of Super-heavy And Extremely Rare Tracks. Accompanied By Detailed Liner Notes And Never-before-seen Photos Of The Artists, Down In The Valley 2 Sets The Bar High For Future Volumes.

"A heavy selection of mod-rockers, garage and psych-funk tracks," runs the sub-title of new compilation series, Down In The Valley from Perfect Toy, encapsulating in a nutshell the multifarious pleasures on offer.

And what better way to open such a set than with Van Broussard's banging titty-shaker Mojo This is followed by The Little Bits' screaming garage-soul cut Girl Give Me Love (recorded when the band members were all between nine and twelve years old!) and Frozen Sun's Jamm Pt.1 - a monster psych-soul number secretly laid down in the lobby of radio station KTKT (in Tucson, AZ) on a Sunday after midnight and about as aptly named as a track can get. Phlegethon's You're No Good provides cover song thrills by getting heavy-psychedelic on the Clint Ballard-penned classic, while yet more garage-soul delights are locked down by offerings from The Chapters, The Looking Glass and The Four. Closing the set is Pump's previously unreleased Ashtray Candle 6:33 - a slow-grooving psych masterpiece.

Once again, Chan the Man - previously the guiding light for Perfect Toy's Down & Wired series - was the driving force behind this project. It is his incredible knowledge, combined with the network of record collectors, DJs and vinyl nerds that he has established over the past few decades which have made it possible to come up with such a high-octane selection of super-heavy and extremely rare tracks. Accompanied by detailed liner notes and never-before-seen photos of the artists, Down In The Valley 1 sets the bar high for future volumes.

Rhyw is Alex Tsiridis aka one half of Cassegrain. On this, his solo debut for Arcing Seas, his smoul-dering alien techno sound manifesto continues to thrive over three unique tracks.

The morphing, deconstructed acid of 'Unpunishable' - a molten statement of lusty intent - strikes first in a heady, hazy pummelling of doom-funk. 'Vertisol' pushes crisp and dry snaking percussion through an anechoic chamber; the bass end neatly warming at first then burning hard through your mid section.
An icy cold shot of 'Aqua Velva' is the final offering - a pushing sub-level trip through Rhyw's private domain - where tingling rushes of bass and static charges wash over us leaving a sinful residue.

Label info:
Arcing Seas is an anagram of Cassegrain. It started out as a secret alias, releasing a couple EPs on Our Circula Sound. The secret was less well kept after the duo appeared at Berghain under this name. A year later, after deciding to start a label, it finally made sense to bring the two together.
CASSEGRAIN = Co S o S o G o R o N o A o E o A o I = ARCING SEAS

8th release from RBMB
Lil'dave is a Philadelphia-based audio tastemaker who has made a name for himself by exposing people to soulful music in all it's forms. As a DJ, he can easily whip the most mainstream crowd into a frenzy, but he is at his best when he digs deep into his crates for funky grooves, broken boogie, and thumping bass. When it comes to making music, lil'dave's productions draw from his hiphop roots, as well as his love of house, afrobeat, uk garage, salsa, jazz, synthesizers, and soul. He has released music as lil'dave, Illvibe Collective, and under his electronic alias, Osage.

After putting out Kito Jempere's well received Sea Monsters album last year, Hell Yeah now serve up another selection of remixes of it. Accomplished musician Jimi Tenor, plus Miskotom and Max Essa all contribute before a 7", also taken from the album, lands later in summer. First up is Jimi Tenor, the legndary Finnish musician who has released on Warp, collaborated with Tony Allen and has his own band as well as occasionally playing sax with Kito Jempere Band at live gigs. He flips Puzzled into five minutes of stripped back and moody electronics with plenty of his own flute playing in the track. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy and late night and utterly absorbing. Miskotom—a newly emerging pair made up of Mik and his wife Andra, both based in Vilnius, Lithuania with credits on Pleasure Unit and Balearic —then reimagine 'Ampa' as a beatdown but of deep house with trudging drums staying low and shimmering synths drift out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
Then comes Max Essa, the Japan based Brit who is a regular on this label as well as the likes of Is It Balearic. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves.
This is another perfect package of masterfully electronic horizontal sounds.

2x12"

It's the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego.

Sex Judas is no bad character but certainly says what it's author cannot.

'I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.'

Inspiration ranges from Africa to 80's NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

CALIBRO 35's new single "Psycheground" flipped by the unreleased Polymeri (Afro-Utopia Vers) on limited edition 45 vinyl.

Psycheground is the new single from the Italian cinematic funk cult combo Calibro 35 available on a super limited 45 vinyl and digital download on May 04. Taken from their heavily acclaimed new album DECADE, Psycheground is an afro-funk stormer that sounds like Tony Allen involved in writing a score for a vintage Hollywood production. The new single is flipped by an alternative and hypnotic afro/tropical version of Polymeri. Don't sleep on it, all Calibro 35's previous 45s went sold out in a few days.

CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. They have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages with the likes of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years, Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Matt Edwards' newly launched reissue label, R-Time Records, prepares its third release, the second instalment of Sir Lord Comixx 'Retroactive'.

R-Time Records shines a light on classic tracks that didn't always get the recognition they deserve, with the label's first two releases coming from Sir Lord Comixx and FBK. Real name Amoon Andrews, Sir Lord Commix's discography has been in high demand for many years, evident by soaring market prices. The A-side of 'Retroactive (Part Two)' features two tracks from a rare untitled release on 'Hard Up', whilst the B-side is made up of 'Chicago Jazz' from the 'Funk Box EP' on Eukahouse (under his a.Moon' moniker in '98) and 'Motionvibe' from 'Azid Jazz EP' on Cynic in '05.

Cosmic synths join wonky arps in 'UR My Omen' before moving into the more up-tempo 'Fog Horn' with its robust drums, off-beat bleeps and filtered effects. 'Chicago Jazz' takes things into deeper territories with crystalline Rhodes and jazz-influenced samples until 'Motionvibe' concludes the package with its syncopated structure comprised of twisted sounds, murky atmospherics and effervescent nuances.

Foxy Red Recordings is proud to announce their first vinyl release consisting of four deep & funky House tunes by TiTLEZ!
If you're up for the warmth, depth, and feel of the classic House sounds of Chicago - look no further! TiTLEZ's new EP delivers the goods while going for a diverse, organic, and eclectic productionapproach. You can expect punchy drums combined with live(ly) percussion samples, jazzy piano chords, and spacey pads, among otherstudio trickery.
The tracks on TiTLEZ's new EP are carefully produced and naturally dynamic, not only mesmerizing the audience with beautiful
soundscapes but also telling powerful stories in a heartfelt, honest, and emotional way. 'Family Affairs' is all about taking the listener on an atmospheric journey and exploring the needs and desires of human beings... while bringing massive grooves to the floor!
Side A features 'Longing' and 'Love', two tracks that focus on the story of love and loss, making for a dreamy, spacey, and nostalgic tone and stretching out the line between love that imprisons and the one that sets free. On side B, 'Fame' and 'Richness' tell the story of wealth and recognition, putting a modern twist on the classical notion of these concepts.
TiTLEZ is a driven, talented, and diverse music producer and his sound is influenced by Afrobeat, Latin grooves and jazz, which all play a vital role on his tracks.
As a result of his kaleidoscopic influences, TiTLEZ developed a unique blend of deep house with a tech and afro twist with an edgy and authentic feel. His work is all about telling stories and conveying that deep, warm feeling to his audience. TiTLEZ's tracks stand out for their diverse approach and catchy vibes, showcasing world-class production aesthetics and excellent musicianship from this promising artist.