Suche:more music

Big Crown Records is proud to present the reissue of one of Brooklyn’s most sought after “holy grail” soul records, YIA Talent Hunt Winners. Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group’s efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy point to the group's relationship to the Great Society programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC’s collection of YIA materials nor in the Brooklyn Public Library’s also extensive collection is this talent show and the record that came to be because of it.
Local vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O’Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them “to just remember, when you reach the top and become our big stars of tomorrow, don’t forget YIA”.
What this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today’s perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. The Channels 4, Carla & The Carlettes, The United Souls, Sharon Seabrook & The Starlettes, and The Destinations all won that day and got to take place in this record. It makes you wonder, and even pine for the performances of the groups who didn’t make the cut, even if just to find out what tunes they covered, or better yet, were their original songs written by some of them for this contest?
It is with great pleasure that we make this available to the public again. This is a truly rare record, and an awesome piece of New York History.

2024 Repress

Michael Gray’s ‘The Weekend’ has become more than just a seminal clubbing anthem. ‘The Weekend’ has become a soundtrack for many a night out, an evergreen, life anthem for a whole generation, a record that has stayed popular since the naughties through its sheer brilliance and been brought back to the attention to a new generation through social media like TikTok.

Now the worldwide dance hit has had new life breathed into it new live strings/dance version from Michael himself.

As Michael goes on to say in his own words:

“I have been working with live strings and horn sections a lot recently and it occurred to me to try ‘The Weekend’ as a totally different concept while keeping the integrity of the original…and it worked!

I got chills when I first heard Stephen Hussey’s (Soul to Soul) arrangement. I think it makes Shena’s lead vocal (and Xavier’s backing vocals ) sound so good!

When I made the record back in 2004 I didn’t realize how much this record would endure and appeal to younger and younger generations in its original form alone. I still get a buzz, particularly when I see DJ’s such as Claptone and Low Steppa playing it to huge crowds. Radio play has been amazing over the years too.

It makes me smile that there are thousands of TikTok videos to it as well!

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

Rooted in the New Orleans tradition and the essence of hip hop, Hip Horns Brass Collective unleashes its powerful sound in KREWE, their debut album. KREWE takes the brass band genre beyond its boundaries, diving into the underground with danceable rhythms like boombap and bounce, full of influences such as afrobeat, gospel and funk. The lyrics, filled with references to hip hop culture, flow in an explosive mix of English, Spanish, and Catalan, sharing their love for the tradition of rap and African American music. KREWE is a manifesto of the positive side of hip hop, a tribute to the unstoppable strength of the collective that a brass band represents in contrast to the solitude of the individual, and a homage to the legacy of hip hop and the vibrant tradition of New Orleans

»lacuna and parlor« is anchored in the left-field chamber music and incidental recordings that have long accented more eaze’s roving sound. Composed with one ear pressed to the rich textures of instrumental recording environments, this is a resonant and tactile collection tinged in rephrased space and skewed time.

Taking the rudiments of tonal music theory as her conceptual base, more eaze formed the compositions around her own manipulations of these core principles. Simple chord progressions stretch over minutes rather than seconds, for example, while elsewhere specific tonal signifiers were deleted from harmonic progressions, altering the expectations of these tropes.

These and many other bespoke techniques underpin compositions that span Americana-inflected ambient ballads and jaunty string recitals. With wistful vocals, bursts of improvisatory noise, loose chatter and overdubbed room sounds flowing in and out of the mix, more eaze invites us to lounge and linger in these lacunate moments, at once heard, felt and imagined.

Readers of encyclopedic tomes are obviously familiar with exploding animals – there are numerous reports of torn-apart toads (even in Hamburg, Germany!), actual ants exploding altruistically – but humans that decide to jointly detonate, and with no harm done, that’s rare: Kobe’s own o'summer vacation are unique (and volatile) like that, and they’re back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan.

“Keep it lean, keep it mean,” they say, and that’s what this band loves to take to the extreme: breakneck concision and collective combustion meet freeform noise punk hazards on o'summer vacation's second (not quite) full-length – as the Kobe-based three-piece’s “Electronic Eye” is set to arrive on October 11, 2024. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it’s the perfect launch pad for their latest set of guitarless pyrotechnics. Going right for max q (maximum dynamic pressure), “Electronic Eye” is (unlike those Starships) actually supposed to explode right after lift-off ;)

Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (DMBQ, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless + inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana).

Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of “宿痾 (Shuku - A)” – which at 6+ minutes makes up more than a quarter of the album. A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows (previously released “Luna,” “Anti Christ 大体 Super Star”), 30-sec mini noise punk anthems (“竦(shou)”, “Days Go By Fast”), and continues to surf at breakneck pace up and down scales (“@ The”), which often feels like catharsis served with a hammer (“Ultra”). Whereas some tracks are bigger more song-y than others (“Song#2,” that full-throttle “Poodle”), “Vs I” is on time like Tierra Whack (exactly 60 seconds of pick-grinding action), and “Rage” indeed feels like Zack is about to join the party – only to see Ami wipe the floor with pure onomatopoetic fire. Finally, “Aloooooone” and “Humming” (that opening lilt!) are sure going to be live favorites, shifting up and down via hardcore speeds and various break-downs.

Quite hotheaded and terminating things on a high note, o'summer vacation point out that the quick-fire lyrics of their “songs have no meaning. It’s called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music.” Although she considers her contribution “a part of the instrumentation,” they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): “That doesn’t mean we don’t have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands.”

It’s only three ingredients, just like sonic gunpowder: bass, drums, voice – but they tend to explode a few bars into each new track. In a perfect world, there’d be giant colorful clouds of dust gracing the sky over each venue they descend upon.

To mark the 10th anniversary of Gidge's landmark album Autumn Bells on Atomnation, the label has assembled a brand new box-
set reissue. This deluxe and expanded edition features a 58-page photo book, poster, the original double album plus a nine-track bonus vinyl with alternative edits and demo tracks from the time, all on transparent wax. The exclusive, limited edition boxset comes first on September 27, then all tracks come digitally in mid-November.

Gidge is the Swedish duo of Jonatan Nilsson and Ludvig Stolterman, who has also taken all of the photos in the booklet. As
friends since high school, they have a deep connection, a great understanding of one another and a shared love of Nordic
woodlands. The spirit of the northeastern forests they grew up around has always coloured their music and lent it an organic,
ethereally, otherworldly edge that conveys feelings of inner peace.

Their brilliant debut album Autumn Bells captured all that in nine accomplished tracks that picked up critical praise from the music
media and millions of online streams. More importantly, it also won them a dedicated fan base who appreciate the art of Gidge's
craft and the sensitivity of their sound. Despite the early success of the album and the three more that have followed since, this
humble pair have chosen to remain low-key. They play only a few shows a year and consciously haven't chased wider commercial
acclaim.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.

The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...


Bios:

RROSE

Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
-----

POLYGONIA

Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.

She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.

Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.

Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.

Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.

Now celebrating 20 years since the original release of 'Salsoul Nugget' in April 2001, M&S enlists Mighty Mouse and Mark Knight for some amazing remix to celebrate this milestone anniversary.

Mighty Mouse pulls out all the stops with expertly chopped vocals and loops that builds intensity with a breakdown that is equal parts intense and euphoric and is sure to get the club absolutely heated.

With a career that spans across two decades, DJ & Grammy-nominated producer and Toolroom head honcho Mark Knight jumps on board the Salsoul Nugget mix package. It's fair to say Mark Knight knows his way around creating records that connect with house music lovers. 2020 highlighted Mark Knight’s more soulful house roots and follows his desire to create timeless dance records that stand the test of time, including the Sunday Shouting sampling 'All 4 Love' (feat Tasty Lopez). 2021 saw the release of ‘Everything’s Gonna Be Alright’ with Beverly Knight and the London Community Gospel Choir. For his mix of Salsoul Nugget, Mark beefs up the drums for the main rooms while being respectful to the original.

The original vocal and original extended vocal mix and original extended Klub Mix are on the flip.

2024 Repress
For Frenzy's third release, and the first solo release, the Uruguay-based William Arist is introducing us to his world of 'tribal techno'. Hailing from the city of Montevideo, this Southern-American-born artist already is a talent to watch overseas. Through their like-minded vision of electronic music, William bonded strongly with our Amsterdam-based Frenzy crew over the last couple of years. This warm connection evolved into Frenzy 03 - showcasing pure dance floor eclecticism that only William can deliver, including two remixes by no other than VIL and rising star Kenji Hina aka Alarico.

The A side instantly kicks off at full good vibe-throttle with two productions that reminisce about those iconic Love Parade moments during the very first days of rave culture. Balancing on the edge of house and techno, 'Chaka Chaka' loops the listener into a straight sense of movement. With rhythmic drums and uplifting vocals, 'Days' feels like stepping into an after hour dance-floor at the beach while the morning sun rises through the exotic vegetation. On the B side, William leans towards a more hypnotic sound. With a great tempo and a dark yet subtle mood, 'Tero' sets the tone for those murky clubbing moments where the boundaries dissolve and bodies merge. Slowly climbing out of the deep, 'Gultural' stays on the same energy level while adding dubby hints and a taste of freshness.

To top it off, the release is provided with two remixes that leave no room for interpretation. Portuguese producer VIL turned 'Chaka Chaka' into a true peak-hour beast while Italian multi-talent Alarico shows his versatile skill set with a speedy house remix of 'Gultural' under his Kenji Hina alias.

Die niederländische Gospel-Soul-Sensation Michelle David & The True-tones feiert eine triumphale Rückkehr nach ihrem 2022er Werk "Truth & Soul", das von BBC Radio 6 zu einem der Alben des Jahres gekürt wurde. Mittelpunkt der Combo ist die ehemalige New Yorker Kirchenchorsängerin Michelle David, bekannt durch erfolgreiche Musicals/Shows (Mama, The Sound Of Motown, Glory Of Gospel, Mahalia) und als Backgroundsängerin (Diana Ross, Michael Bolton). Auf dem live im Studio aufgenommenen Album "Brothers & Sisters" gelingt es der Band wieder meisterhaft, die rohe, dynamische Energie und die gefühlvolle Atmosphäre ihrer Live-Auftritte im Studio einzufangen, wo sie mit peppigen Grooves, kraftvollen Vocals und starken Melodien, inspiriert von altem Gospel über Curtis Mayfield und Bobby Womack bis zu Klassikern des renommierten Stax-Labels, das Publikum in den Bann ziehen.

Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma délire - Songs of love, lost & found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lavoie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds us that even the most pitch-black night is but a transitional state. Beautiful work.

“Worldwide Heavy Industries Vol.1: A Bold New Vinyl Release fromFlux Musical Art and Brutal Forms Flux Musical Art and Brutal Forms have teamed up to release Worldwide Heavy Industries Vol.1, a groundbreaking vinyl that promises to push the boundaries of industrial and rhythmic music. This limited edition release, available in just 300 copies, offers an immersive exploration of mechanized soundscapes and futuristic themes. An Industrial Sonic Journey The album presents a compelling journey through industrial rhythms and dystopian landscapes, with each track showcasing a unique interpretation of the genre. On side A, Dominik Müller opens with “Too Many Posers,” delivering an intricate and immersive soundscape characterized by his signature depth and complexity. Following this, Ryuji Takeuchi’s “In Your Mind” introduces innovative rhythmic structures, adding a fresh and dynamic dimension to the release. The B-side features a powerful collaboration: 6SISS and Hypnoskull’s “Losss” combines intense rhythms with a raw, industrial edge, creating a track that is both abrasive and compelling. Low Order’s “Taste My Venom” delves into the darker and more experimental aspects of industrial music, bringing a raw, experimental touch. Closing the release is Skumring’s “CorpseRidden,” which blends precise rhythms with expansive sound design, offering a rich atmospheric quality that reflects his role as co-founder of Brutal Forms. With only 300 copies available, this limited edition vinyl is a coveted collector’s item. Each record features bespoke artwork that complements the album’s industrial theme. *Worldwide Heavy Industries Vol.1* is set to reach a global audience of dedicated collectors and fans. This release is more than just a vinyl; it’s a journey into a futuristic world through the lens of industrial music. For further details on track listings and purchasing options, visit Flux Webzine or the official websites of Flux Musical Art and Brutal Forms. Dive into this cutting-edge release and experience the forefront of industrial music with Worldwide Heavy Industries Vol.1.”
Hardware Emotions

'a masterclass in hardcore dancefloor and bittersweet feeling...Alex Crossan is both acclaimed and not feted enough' **** The Observer

Available on his own Pond Recordings, Curve 1 is a love-letter to club spaces, and the music and people who fill them.

Mura Masa’s forth album is a full-circle moment. Departing from the pop-leaning narrative and who’s-who guestlist of his most recent records, Curve 1 heads back down the rabbit-hole of club music that’s alternately euphoric, introspective, nostalgic and future-facing. Full of tension and release, ambiguity and playfulness, the significance of Curve 1 is left up to the individual: whether enjoyed solo or in the sweat of a packed room, here is music as enigmatic and layered as its author.

Mura Masa himself introduces Curve 1 as 'a manifestation of an attitude I’ve been cultivating in my personal life; ignore everything. All the content, all of the attention economy, all of it. In doing that, the really meaningful and vital parts of what’s around you make themselves known and unignorable, demanding your energy. It’s my first offering as an independent artist through my own record label, and as such I wanted it to be as free and anti-narrative as possible. Impressionistic. Music as entertainment has in many cases, to me, become very advertorial and excessively sentimental in terms of creating narrative around albums and artists. I wanted to strip this away as much as possible to leave room for the music to create its own meaning in the lives of people who form connections with it. It's hard for me not to explain away the intricacies and ideas contained within these records after having theorised and tolled and executed them over the course of nearly three years, but I think it’s far more fitting of the album’s intent to say simply: listen to it in the dark.'

Curve 1 pulls Mura Masa into focus as one of this generation’s most influential figures. Aptly reflecting his rare standing at the heart of youth culture, Mura Masa recently co-wrote long standing collaborator PinkPantheress’ single ‘Turn It Up’, as well as creating a series of remixes for Troye Sivan’s ‘Honey’. From producing global hits like ‘Boy’s a liar Pt.2’ to seminal records like Shygirl’s Mercury-nominated Nymph, it’s a juncture that has also seen Mura Masa embark on a new chapter of his own. He has set up his label and a creative hub and arts space - The Pond - in Peckham as a base for emerging artists and likeminded creatives, which will launch officially next year. Across his three critically-acclaimed solo albums, Mura Masa has built an audience who will follow wherever his genre-defying work goes next; with 2 billion streams, headline festival sets around the world, and live shows ranging from Alexandra Palace to Warehouse Project.

Curve 1 marks a back-to-your-roots approach whilst also highlighting the trailblazing young star’s recurring theme: to capture ‘that’ curvature in pop culture, to make it Mura Masa’s own, and to push things forward.

'Curve 1 has a club focus, no f—ks attitude and production that’s mature, lush — simply put, it’s just cool.' billboard

'a scintillating love letter to club culture and sounds' Wonderland

'the Grammy-winning producer throws a total curveball. Ditching his usual dreamy pop, Mura goes full hardcore dance. From techno to vintage rave' **** The Mirror

'Get sweaty as Mura makes it messy' **** The Sunday Express

'a total curveball...intense but full of hooks' **** The Daily Star

'Mura Masa has always been ahead of the creative curve, but with his new album, the tenured producer is consciously forging a path inspired by his newfound independence.'

'a grab-bag of sounds from a brilliantly restless mind' Rolling Stone

You may not have heard of Long Beach O.G. Greg Royal aka Pür Royale, but you're definitely familiar with his work. With a resume of remix, production, engineering, and editing work ranging from Dr Dre's "The Chronic" to Bobby Brown's "My Prerogative", to the dub version of Patrice Rushen's "Feels So Real", Greg left an indelible mark on contemporary black music from the mid-80's to mid-90s.

In 1993 however, a one off 100 copy house 12" self titled as "Royal Phenomena" on the surface didn't seem to quite fit with the more traditional hip-hop and r&b output of his extensive discography. I only found out it existed through connecting with another unsung west coast pioneer, Aaron Paar, for Must Have's 2016 Teflon Dons compilation. Greg is credited as a mixing and recording engineer on practically every release on Aaron's own consistently excellent label Worldship. After listening to Aaron tell his story, it was clear Greg's studio experience and mentorship were key elements in the development of Aaron's signature tough SP-1200 house sound. "Royal Phenomena" remains an elusive connecting point for LA hip-hop and underground deep house, and Greg and Aaron remain friends and frequent collaborators.

Aaron put me in touch with Greg, who miraculously kept his original DAT tape recordings of these unique house excursions and was happy to finally share them with a wider audience. Blending hip-hop production techniques, west coast Latin sleaze, midwestern minimalism, and a dash of UK bleep, the LA underground house sound remains singular.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

2024 Repress

'Solar Nights' is the long awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings this April, 'Solar Nights' follows on from Bernhardt's critically acclaimed, and Gold certified, debut LP 'Panorama Pacifico' and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, David Harks, Niya Wells, Emma Brammer and Anduze.

The global success of 'Panorama Pacifico' has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, 'Solar Nights'.

"In recent years the world's become smaller, a more inter-connected place. It can be dark and cold here, with snow all around, and the next day I can be playing to people on a beach. Somewhere on the planet it's always daytime or summer, but beyond that day and night just blend into each other these days," Tim explains. "We have daytime discos so you can go and party while the sun is still high in the sky, and you can go and hit the gym at night. Beit day or night, Satin Jackets is your soundtrack."

And what a soundtrack it is, from the first chords of opening 'Welcome Back' it's clear we're in safe hands here, the warm pads, delicate guitars and pianos providing the perfect introduction to the album. Whether it's the slow burning seductive pop of tracks like 'Just Like You', piano led house tracks like 'String It Again', the Balearic haze of 'All For You' or bonafide hits like the Nordic inspired 'Northern Lights' and 'Mirage' that between them have already scored well over 10 million streams across streaming platforms, 'Solar Nights' takes everything we loved from 'Panorama Pacifico' and polishes it to an ultra high sheen.

And in an age when rough and raw production is seen as an easy shorthand for authenticity, Tim's love of über-smooth production has made him an unlikely iconoclast, "I had always been fascinated by how glossy people like Nile Rodgers made their music," he reveals. "It always sounded like the musical equivalent of a fashion magazine's cover. I'd been making more underground music for a while but really wanted to go in totally the other direction and instead create a really smooth, polished sound."

That obsession with sonic fidelity shines through across every track on 'Solar Nights', and the years since his debut was released have been well spent perfecting his craft. "Even in just the last couple of years I've made some big changes in how I produce music. Compared to my debut, everything under the hood has changed here," he explains. "Every day, with every production, I'm learning new things and when I listen to these new tracks, the depth in the mixes, the clarity, I like to think of 'Solar Nights' as Satin Jackets but in 3D."

From wanting to recreate the sound of magazine covers to appearing on them, the past few years has been quite some journey for the still enigmatic producer. The man behind the golden mask may prefer to stay out of sight but 'Solar Nights' reveals him to be fully in control, producing music that reflects the glamour and glitz of 70s Manhattan, artfully updated for the 21st century.