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Legendary labels Decca Records and Blue Note have joined forces for Blue Note Re:imagined; a brand new collection of classic Blue Note tracks brought together for the first time, reworked and newly recorded by a selection of the jazz scene’s most exciting young talents today. Representing a bridge between the ground-breaking label’s past and future, the project will feature contributions from a rollcall of internationally acclaimed jazz, soul and R&B acts-Shabaka Hutchings, Ezra Collective, Nubya Garcia, Mr Jukes, Steam Down, Skinny Pelembe, Emma-Jean Thackray, Poppy Ajudha, Jordan Rakei, Fieh, Ishmael Ensemble, Blue Lab Beats, Melt Yourself Down, Yazmin Lacey, Alfa Mist, and Brit Award-winning Jorja Smith.

This is the next 7’’ singles installments with Steam Down’s version of Wayne Shorter’s Etcetera (ft. Afronaut Zu) and Yazmin Lacey’s version of Dodo Greene’s - I’ll Never Stop Loving You.

The super-producer duo behind the mega-hit “Let’s Go Dancing” makes their return at a time when there is nowhere to go dancing to, and no us to let go dance there.

“Your home is now the club, which makes it my responsibility,” says Tiga, safe inside a thick denim containment suit. “This is not the time for relentless bangers, no matter how amazing they sound when live-streamed by the world’s loneliest DJs. ’This Is a Dream’ is an epic poem, an immunity passport to the boundless dimensions that lay beyond the veil of slow wave sleep. For I am Sleeporus, musical ferryman to the realm of night. My toll is $1.29 on Beatport, and your pillows are my decks, and also the boat. I hope that’s clear."

Immediately contradicting his no-bangers edict, Tiga describes “Crushed by Meditation” as a weirdo freakout soundtrack for washing each grape individually. This scathing commentary on poorly curated self-care employs bizarre bits of tape found in a piece of gear the two purchased before flea markets were against the law.

“Foraging is the future of sampling. But I alone believe that humanity was destined for more than living underground, eating from a can. I only pray to Father Time and Mr. Destiny that we’re not too late."

Betty Wright (original name Bessie Regina Norris) rose to fame in the 1970s with hits such as “Clean Up Woman”, “Lovin’ Is Really My Game”, and “Tonight Is the Night”. She was an outstanding performer and this Live album provides much evidence of Wright’s vitality as a singer. Besides the wonderful performances of her own hits she also sounds incredible on the cover of Leon Russell’s “A Song for You”. The album peaked at #63 in the Canadian Album Chart. This expanded edition features two bonus tracks not available on the original album. Betty Wright passed away May 10th, 2020 at the age of 66.

Available for the first time on coloured vinyl as a limited edition of 1500 individually numbered copies on translucent yellow vinyl

Generation Series 013: Streets of Rage 4 The Definitive Soundtrack comes to wax! Experience all 35 memorable tracks on three 12” 150g vinyl, with every song specifically remastered for the analog format.

Exclusive to the vinyl is a cover co-illustrated by Hitoshi Ariga and Ayano Koshiro, who worked on the past Streets of Rage titles alongside their brother, legendary composer Yuzo Koshiro.

The vinyl comes with a booklet containing liner notes from every composer, including Olivier Deriviere, Yuzo Koshiro and Motohiro Kawashima, as well as both Hitoshi Ariga and Ayano Koshiro, and members of the development team.

Trunk packed with the hot contraband of Stank Soul Edits Vol. 6, Mako & Mr Bristow are barreling down the remix highway yet again, hightailing it first to the Tropics with Stealin' Alright before pulling a u-ey and fishtailing directly north for Stolen Nolan!

While Side A chops and re-arranges a funky steel-drum Joe Cocker cover to fit on one side of a 45, Side B converts a northern soul cut from 6/4 to 4/4 time for a new twist on an old classic. As always, expect bass and drums to be stankily tweaked so both cuts are re-vitalised for twenty-first century sets without losing that vintage feel.

Mr Bongo presents a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The Sven Wunder 'Wabi Sabi' 7" is the second collaborative release between Mr Bongo and Piano Piano Records. 'Wabi Sabi' is Sven Wunder’s follow up to the already contemporary cult-classic album 'Doğu Çiçekleri (Eastern Flowers) from 2019. Not one to be complacent and recreate a carbon copy of their previous works, Sven Wunder switched from the psychedelic-Turkish-funk sounds of 'Doğu Çiçekleri' to the Japanese inspired ethereal funk of 'Wabi Sabi'. We have selected the tracks ‘Hanami’ and ‘Shinrinyoko’ for this collector’s edition 7’. Japanese artists such as Hozan Yamamoto, Tadao Sawai, Kazue Sawai, spring to mind, but also David Axelrod and Dorothy Ashby on the beautiful string-led 'Hanami' with it's laid-back funk breaks. 'Shinrinyoku' has a slightly more raw cinematic-funk sound, yet is cushioned with warm strings and tripped-out keys - pure, rare-library music vibes.

We are delighted to be able to release these amazing tracks, cut at the Timmion Records Cutting Lab in Finland.

Newcomer Hekla releases her uniquely beautiful debut album for solo theremin and voice Á through Phantom Limb Records - run and curated by former FatCat Records, Thrill Jockey and Royal Albert Hall execs James Vella, Ken Li and Mark Pearse.

A Berlin-residing Icelander, Hekla's sparse, delicate, fractal music exists within these two worlds: dark and magical as Iceland's permanight folklore; and (though beatless) as deeply sonic and intense as Berlin's electronic scene. A long-term scholar of solo theremin, Hekla (shortened from her own name Hekla Magnúsdóttir) uses her instrument as an otherworldly and highly evocative Siren-call. A spectral, wailing, howling, lamenting yearning second-voice that underpins a soft vocal delivery, as if her studio had been haunted with a chorus of ghostly backing singers.

While a handful of reference points share a similar ground to Á - Colleen's interplay of voice and instrumentation; the richly immersive filmscore work of sadly passed fellow Icelander Jóhann Jóhannsson's; 'grandmother of theremin' Clara Rockmore's close relationship with such a singular instrument; Julia Holter's intelligent and classically-aligned songwriting - Hekla's music still exists singularly. A one-off talent, emerging from no particular scene, ascribing to no particular rules.

As a creative tool, the theremin - bizarre, unique, rarely heard - can be expressive, intuitive and highly adaptable. In Hekla's hands, her instrument covers an enormous range, from skittering birdsong of high frequency chirrups and chirps, to grinding, tectonic sub-bass. We are given the throbbing, apocalyptic dread of 'Muddle' and the baroque beauty of traditional Icelandic hymn 'Heyr Himna Smiur' in sequential tracks on the album's a-side. Appropriately, she also writes that the album title - Á - is similarly multifaceted in her native Icelandic: 'a river is an á and also it means ouch like when you hurt yourself, and also when you put something on top of something you put it á (on) something.'

The album was written and self-recorded by Hekla in her home studio in Berlin around her son's daycare schedule. Icelandic super-musician Mr Silla (a part-time múm member) guests on a number of tracks. Tallinn-based engineer Jose Diogo Neves - a stalwart of Icelandic and Portuguese music - mixed and mastered Á.

James Vella formed Phantom Limb in June 2017 after eight years in A&R for FatCat Records. Mark Pearse (formerly head of contemporary music programming at the Royal Albert Hall) and Ken Li (formerly of Thrill Jockey, now of Nettwerk) joined the team shortly after.

Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.

Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.

Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

Never a dull moment on Neroli: after a string of releases from the likes of Fred P, DEGO, Patrice Scott, Chaos in the CBD and Trinidadian Deep it’s now the turn of PATRICK GIBIN together with KAIDI TATHAM.
The duo has been already responsible for some heat on Patrick’s own Blend It label, and here they are teaming up once again for a whole EP.
This time they enroll New Jersey majesty JOSH MILAN of Blaze/Element of Life fame on vocal duty with extra the help of Dawn Tallman on backing vocals and they turn the song ‘Love To The World’ into a modern day Classic…..Anthem Alert! But there’s more evidence of brilliance from Gibin and Tatham with the boogie ‘Groove on’ and JazzFunk House joint ‘Don’t Be Rude’ where mr keyboard Kaidi lets loose on Bass and Guitar!

Let’s be honest – the first time many of us heard the otherworldly talents of the Ultramagnetic MC’s was on a compilation. A smattering of singles in 1986 had barely registered beyond a small circle in New York, but the inclusion of the 1987 single ‘Travelling at the Speed of Thought’ on Street Sounds’ ‘Hip Hop Electro 16’ set, sandwiched between classics from MC Shy D and Just-Ice, was a watershed moment.

In a way, it’s their most atypical release. The deceptively simple combination of drums ‘borrowed’ from The Rolling Stones and a scratched hook from The Kingsmen’s definitive version of Richard Berry’s ‘Louie Louie’ is one thing. The simple by their standards vocals, however, render it into a loveable pastiche of rock-rap, a more esoteric equivalent of Run DMC’s ‘Walk This Way’.
The flip is more in keeping with their style both on their earlier ‘Ego Tripping’ single and the soon-to-arrive landmark classic album ‘Critical Beatdown’. Over some heavily chopped drums from erstwhile breakbeat classic ‘Apache’ by the Incredible Bongo Band, Ced Gee and Kool Keith showcase flows that were different from anything out there at the time.

‘M.C.’s Ultra (Part II Edit)’ is part brag-rap, part baffling science lecture. Leaning heavily on the thesaurus, it’s a slang heavy manifesto that elevated the boast rap to the next level. While Kool Keith would go on to be the group’s breakout star, this is a showcase for the whole collective, right down to DJ Moe Love’s slithery scratching sliding from one channel to the next.

Only previously released in the UK as a 7” that’s now very hard to source, this is a chance to re-embrace this breakthrough from a legendary group.

Melvin Bliss’ iconic ‘Synthetic Substitution’ (1973) has been sampled hundreds of times. Gracing records from Naughty by Nature’s ‘O.P.P’ to Public Enemy’s ‘Don’t Believe the Hype’, it’s one of the foundations of hip-hop. However, there’s a school of thought that says the sample could have been retired forever after Ced Gee used it for ‘Ego Tripping’. It was the first song to use those wonderful Bernard Purdie drums, and arguably the best.

Their first release on Next Plateau Records, this instant 1986 classic slams from the first bar, that hard-as-hell beat underpinned by stabs and the breathy ‘ultra-magnetic-magnetic’ chant beneath. Meanwhile, Ced and future legend Kool Keith go to town with pseudo-science and a thinly veiled diss of Run DMC – ‘Say what, Peter Piper, to hell with childish rhymes’. It’s a song shot through with promise they’d more than fulfil on their debut album, 1988’s landmark ‘Critical Beatdown’.

The flip, ‘Funky Potion’, doesn’t coalesce with quite the same genius but is still more than a curio, with the MC’s doubling down on their futuristic nonsense approach to lyricism. Rufus Thomas’ ‘Do the Funky Penguin’ is the base for yet more stabs, discordant scratches and a kitchen-sink approach that shows just innovative the group were prepared to be.

Never before released before on 7”, this undeniable hip-hop classic comes complete with bespoke hype stickers incorporating one of the great rap logos of all time.

The late engineer and producer Paul C’s fingerprints are all over this single from Ultramagnetic MC’s, perhaps the defining release of their career. While earlier records gave notice of their strange and unique talents, they were loveably messy affairs. This, however, is the real deal, as polished as their early sound would ever be.

‘Give the Drummer Some’ grabs a fistful of different elements – from James Brown, Dee Felice Trio and James Brown – but bends them to its own purpose. This is a song with a momentum of its own and endlessly quotable lyrics. One of which, of course, was sampled by The Prodigy – huge hip-hop fans – for ‘Smack My Bitch Up’ in 1997. The now hugely rare 7” of ‘Give the Drummer Some’ edits this out to make it more radio-friendly, but this reissue reverses that cut, giving you the original lyrics. If anyone knows why Kool Keith also changes the word ‘rappers’ to ‘monkeys’ for that edit, answers on a postcard…

The brilliant B-side harks back to the time when every group had a song dedicated to their DJ. ‘Moe Luv’s Theme’ sees Kool Keith at his most straightforward, singing the praises of the turntable skills of Moe Luv. It would be throwaway were it not for the effortless repurposing of Jackie Robinson’s oft-sampled ‘Pussyfooter’. That – and the presence of one of the world’s great MC’s at the height of his powers – elevates it far above a footnote.

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — is thrilled to present a new, deluxe reissue of “Pow Wow”, the debut 1982 solo LP from Cabaret Voltaire’s Stephen Mallinder. Now expanded to a double-LP, and also released on CD/digital, it’s a definitive reissue which now includes Mallinder’s early solo discography in its entirety. This collection of mutant dub/funk/postpunk sounds just as fresh and contemporary in 2020 as it did in 1982 (note Autechre’s inclusion of standout cut “Del Sol” in a mix earlier this year), and highlights Mallinder’s crucial contributions to Cabaret Voltaire.

Some words from Mr.Mallinder on the scene and era from which “Pow Wow” was born: “It was an interesting, and inspiring, time. The primal caterwaul of punk was dying and lots of really significant things were emerging from the fires. Much looser vibes were in the air and there was a much more exploratory feel. Punk had championed a visceral, anti-intellectual approach but in truth the real characters brought so much more to the table, and what began to happen - from people like The Pop Group to Throbbing Gristle, and emerging scenes from No New York to Factory Records - is we began to embrace the art of it all. There was acknowledgement of the importance of books, films, graphic art, and experimentation with all those mediums. We were just as interested in turning over rocks to see what lay beneath, as throwing them. There was a sense of new magik emerging.”

“Pow Wow” was commissioned by the Fetish Records label, and recorded at the Cabs’ Western Works studio, where Mallinder would spend his days recording with Cabaret Voltaire, and continue on alone into night recording his debut solo material. “I slept very little in those days,” he adds, continuing: “It was done on 8 track and very multi-tracked, so lots of recording, then bouncing, and overdubbing, to get the integrated feel of the tracks. I became very adept at pressing record then jumping onto equipment to play it - it was actually a very 'live' record in that sense. I've always seen rhythm at the core of what I do so I loved the layering of counter rhythms. The sequence/arpeggiator parts were all drum machine triggers that were played live. It was about creating a distinct groove so arrangements came from weaving in and out of those linear grooves. It was fun to play everything from drums, guitars, keys, trumpet, percussion, tapes… and record and produce it all. Prince got it from me!”

Surprisingly, Mallinder’s first solo LP would also prove to be his last - that is, until last year’s critically-acclaimed solo return “Um Dada”, on Dais.

This new edition of “Pow Wow” contains 14 songs, and is housed in a recreation of the original, iconic Neville Brody jacket, painstakingly recreated using scans of Brody’s original artwork elements. The 2LP vinyl edition is in a reverse board, thick-spine jacket, and adds a 12”x24” folded poster/insert, featuring unused elements from Brody’s original designs, sketches, and instructions for the LP. The CD edition comes in a reverse board, 6-panel digipack.


2-11 from the Pow-Wow LP on Fetish Records, 1982.

13-14 from the Temperature Drop / Cool Down 12” on Fetish Records, 1981.

12 from the Fetish Records compilation The Last Testament, 1983.

1 edit from the Pow-Wow Plus LP on Fetish Records (Japanese pressing), 1984.

Jazz funk and gritty rare grooves ensemble from down under - Kerbside Collection - return with their third record "Smoke Signals"! Continuing in a down home, instrumental approach, but this time crafting newer ideas and flavours into their spectrum of warm, analogue, dusty grooves from much more Fender Rhodes electric jazz elements, to New Orleans sprinklings alongside their 60's inspired West Coast style.

"Smoke Signals" continues the wilder tones, textures and 'library' sounds of extra instrumentation found on their last output "Trash or Treasure", whilst introducing hints of fusion and cinematic analogue electric colours into the mix bringing things into early 70s territory. Opening with the lush, analogue synth and keys palate of "Waiting Game", reminiscent of some classic Air "Moon Safari" grooves, before the album properly begins with a fresh rendition of the Rhodes heavy Cedar Walton 70's jazz funk classic "Jacob's Ladder".

Then straight into the street-styled jazz bongo breaks and funky flute of "Traffic", a skankin' New Orleans reggae homage to one of its finest Creole dishes, featuring funky Hammond organ courtesy of guest Jake Mason (Cookin' on 3 Burners) and tasty piano work from multi instrumentalist Andrew Fincher who handles both guitar and keys on the whole record.

The middle of the record comes with a steaming afro funk workout, and a low slung N'awlins styled blues 'n' soul groove, both featuring the fruity, low-end brass action of Papa Jo on the big baritone sax, before taking a gentle emotional breather with a delightful, soft, soulful, Rhodes ballad, and a 'waltz-jazz-wig-out' attributed to their label's A&R Mr Mellow (reminiscent of some humorous UK acid jazz à la Corduroy and James Taylor Quartet) featuring some beautiful jazzy Flugelhorn, and acoustic double bass.

The album wraps up with another cover - a grittier reinterpretation and arrangement of a Bob James 80s jazz funk classic "Westchester Lady" complete with funky flute and soaring guitar solo, before finishing with the explosive rock funk workout and title track "Smoke Signals", rounding out a record with a full spectrum of handmade jazz funk, reggae, soul, library and gritty rare grooves all recorded to tape machine.

White vinyl, picture sleeve, limited pressing of 500 copies, includes Peaking Lights remix

Montaine’s “Mount Nod” is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated “I’m on the bottom line but I’m doing fine” changing meaning as the song goes on, plotting the course of Mr Montaine’s sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine’s worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. We have to sincerely thank Sam Potter of 00s band Late of the Pier for coming to Be With with the story of February Montaine back in the spring of 2017. When we first heard “Mount Nod” our jaws dropped. We immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it’s perfect, addicitve pop which generously gifts the listener eternal goosebumps. Three years later, we are absolutely delighted to finally bring this out as the second release in our Be Pop series of 12″s. In Be Pop fashion it’s pressed on white vinyl and this time limited to 500 copies for the World.

Alex Jann returns to Dance Trax after last year’s intense electro workout alongside Assembler Code. Here he fly’s solo showcasing his broad style of electro futurism - inspired by authentic machine funk, Jann re-imagines classic sounds for modern times. Marco Bernadi on flight deck reporting for remix duties - Stay alert!

DJ Support
Nightwave “really digging this and will play in isolation streams lol cant choose a fav tracks, love them all and heavy Bernardi rmx” 5/5
Martyn Bootyspoon “Don't come around is a jam” 5/5
Solid Blake “top!” 5/5
tiga “downloading for tiga, thanks” 4/5
Fear-E “Excellent stuff!” 5/5
Paul Woolford/ Special Request “Y E S Cybernetic Memory bangs, gonna throw it in the mix on my Radio 1 show, can you send me a WAV please? T H A N K Y O U” 5/5
Horse Meat Disco “Love this” 4/5
Extrawelt “Dope!” 5/5
Martelo “this is super wavey.. into it!” 5/5
Len Faki “great vibe - love it!” 5/5
Âme “thanks” 3/5
Mr Beatnick “inward energy is perfect for my NTS show”
Ben UFO “thanks” 4/5
Mosca “Marco always hits that sweet spot of offness” 3/5
anja schneider “THX for the music” 4/5
Barely Legal “Hard” 5/5

The Advent (Cisco Ferreira) delivers his first full-length Electro album in 17 years. Released this May on Sync 24's burgeoning Cultivated Electronics label, 'Life Cycles' finds the past meeting the future. Because, to get a truer feel for this new long-player, we should head back even further to a 1995 classic - The Advent's debut album, 'Elements Of Life'. In fact, fans will recognise a nod to the original artwork of that seminal release, as 'Life Cycles' takes us full circle, containing unreleased Electro gems from the '90s, available for the first time.

"I have been making electro music for nearly 3 decades now and excited to see that it is in demand with this new wave of talented producers out there. 'Life Cycles' is an album where I explore my older past and connect with the future, 2020 and this new electro generation," says Cisco. Ever since Cisco Ferreira discovered Acid House in the London clubs he frequented, his journey has been about making his mark on the electronic music scene.

Fresh from college he landed a job as assistant sound-engineer in several recording studios where he learned the art of translating feelings to frequencies, recording high profile artists from the world of Rock, Pop, Dance and Reggae. When acid label, Jack Trax moved in next-door, Cisco started recording for the likes of Adonis, Fingers Inc, Marshall Jefferson and Derrick May.

These rendezvous sparked the inspiration for his first EPs on R&S and Fragile. By 1994 Ferreira had signed a record deal for 12 EPs and 3 albums together with Colin McBean. This was the beginning of an era during which the duo set a worldwide standard for high quality underground Electro and Techno.

They hit the world with a refreshing sound, both as The Advent, and G Flame (Cisco) and Mr G (the alias Colin still uses today). Nowadays The Advent is a solo project for Cisco as he bombards crowds around the world with his trademark raw, energetic sound.

As much as The Advent is known for uncompromising Techno, so his Electro has been a huge influence for a lot of young Electro artists today (including his own son and sometime Electro collaborator, Zein) and when you listen to 'Life Cycles' you'll understand why. From the moment the beats kick in on track 1, 'Music Is Life' we're met with full on Advent power. The album explores classic old-school Electro vibes from the tough machine funk of tracks like 'This Is Not' and 'Vast' to the acid excursions on 'Panda', via some the ghetto boogie of 'L.U.' or 'Stasis V2'. And lest we forget what an amazing live performer The Advent is, there's even the deeply hypnotic 'Live@Motor 1998'.

Following her 2019 debut Womanhood, Klein Zage makes a triumphant return with new EP Tip Me Baby One More Time. With plaudits and endorsements from Pitchfork, Resident Advisor, Bradley Zero, DJ Python, Mr. Mitch, Femme Culture and more in tow, she presents a record inspired by her beloved service industry. Her cut-throat lyrics, razor-sharp beats and wry humor carry through from the housey menstruations of Womanhood to Tip Me Baby's anthemic exposé of the server/guest dynamic.

Zage sees the restaurant as club, the service floor as a dance floor - a place for performance one in the same. If the A-side presents Zage 'clocked in', on the B-side, she's 'clocked out' - transporting the listener to the inner workings of her mind with the help of Joey G ii on 'I'm (Almost Certain That I'm) Here’ -- hailed by Tip Me Baby remixer Facta as 'one of my favorite songs this year'.

In light of the impact that the Covid-19 crisis is having on the restaurant industry, all profit from this release will benefit Restaurant Worker's Community Foundation Covid-19 Emergency Relief Fund as well as New York's 'Service Worker's Coalition'. Now more than ever this industry needs you to 'Tip! Baby One More Time'.

Mr Derek Carr needs very little introduction in Deep House circles these days. He’s a veritable underground powerhouse; cranking out one stellar record after the other, everything adhering to his cinematic, Detroit influenced style. He returns to Love Notes for a second time with The Anti Virus EP, which also serves as the milestone of Love Notes 20th release.

The A side has the strings and the aforementioned Detroit influences, and things get dark on the b-side, and even take in some dub influences on the B2. This is every bit as stellar as you’d expect Carr’s second release on Love Notes would be.

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

Official Mr Bongo 7” Hip Hop Reissue.

Craft a record iconic enough and, no matter what you’ve sampled to make it, you’re destined to be sampled more yourself. It helps if you’ve got Rakim’s voice, of course. When he and Eric B went into Power Play Studios in New York in 1987 to record ‘I Ain’t No Joke’, their next move was highly anticipated due to the critical success of the duo’s first record, ‘Eric B. Is President’. Rakim was already seen as a masterful MC with a distinctive slow, baritone flow and seamless access to a rich vein of words not often heard in hip-hop.

People’s first exposure to this track was on the landmark ‘Paid in Full’ album, and it was clear this had the potential to jump off as a single. The repetitive, simply scratched sample of ‘Pass the Peas’ by the JB’s was an infectious ear worm that needed a truly strong MC to stand up to it. He did more than that – here Rakim spun timeless lyrics and lines that would go on to be sampled and referred to dozens of times down through hip-hop history. He took one of rap’s great instrumentals and wrestled it to the floor.

Of course, you can’t have Eric B & Rakim without Eric B. The DJ gets his time to shine on the flip, and while he isn’t a man renowned for his dexterity and turntablist skills, the track still knocks. Maybe it’s because Eric B has already realised what many would come to work out later: If you haven’t got Rakim on your record, at least scratch his vocals. This re-release comes with a brand new cover utilising some of Dan Lish’s trademark artwork.

While it’s undeniable that Eric B & Rakim crafted and concocted classic after classic back in the Golden Era of the late 80’s and early 90’s, very few of their records could ever be classified as ‘dancefloor fillers’. But that’s exactly what ‘I Know You Got Soul’ was.

The duo’s third single was released at a time when their debut LP, 1987’s ‘Paid in Full’ was already being hailed as a gamechanger. Rakim’s smooth but sombre flow had introduced new phrases to the hip-hop lexicon, while the barrage of James Brown samples had declared open season on the Godfather of Soul’s back catalogue.

There were already stirrings of a backlash from the more frequently sampled artists at the time this came out, and the fact that it took not just its main hook but also its title from Bobby Byrd’s James Brown-produced 1971 single was almost like rubbing salt in the wound. The hip-hop fans and the dancefloor didn’t care – this played all summer long in 1987, elevating the group to a Soul Train performance.

Only months after this dropped, the UK collective M|A|R|R|S turned Rakim’s “Pump up the volume” line into the basis of their own hit. Pop will eat itself.

The original 7” was released in a no-frills generic sleeve – this re-release comes with a brand new cover utilising some of Dan Lish’s trademark artwork.

Try Anything Once is the first solo album created by Alan Parsons following the split of The Alan Parsons Project. This album features vocals by Ambrosia's David Pack, Duran Duran backing singer Jacqui Copland, former Mindbender and 10cc guitarist Eric Stewart, and Manfred Mann's Earth Band frontman Chris Thompson.

The album takes a different turn from the previously ethereal Project albums, and seems to continue the directional development that started with Stereotomy and Gaudi (MOVLP631), combining rock elements ( Back Against The Wall' & Breakaway') and mood-oriented beats ( Turn It Up' & I'm Talking To You'), while still retaining certain elements of the classic Project albums that are unique ( Mr Time', Wine From The Water', the instrumentals).

With the Music On Vinyl edition of Try Anything Once, this awesome album is available on vinyl for the very first time!

Outta Sight’s collectable ‘Classics’ series continues with two real heavyweight’s of the rare soul scene, face-to-face for the very first time. Together, these two icons helped define, not only Northern Soul, but the soul music genre… and now, almost sixty years on, they go head to head.

In the blue corner is former commercial artist and amateur heavyweight boxer Mr Roy Hamilton who set the dancefloors trembling across the North of England when his 1962 “Earthquake” was finally unleashed on the Northern Soul scene. Hamilton was already a huge star in America scoring two R&B No.1’s in 1954 and ’55 with the standards “You’ll Never Walk Alone” and “Unchned Melody”. But, he will forever be remembered in the U.K. for his Northern anthems “Crackin’ Up Over You”, “The Panic Is On”, “You Shook Me Up” and the explosive “Earthquake”.

In the red corner is the multi-talented actor, pianist, arranger, producer, songwriter and singer Mr H. B. Barnum who’s early belter “It Hurts Too Much To Cry” belies its 1962 recording date. Barnum also scored on the rare soul scene with “Three Rooms With Running Water”, “The Record” and the awesome “Heartbreaker”.

But his contribution far exceeds his personal output with writer, producer and arranger credits on a slue of floorfillers inlcuding Judy Street’s “What”, Earl Wright’s “Thumb A Ride” and The Magnificents’ ”My Heart Is Calling You”, to name but a few.

"NOON" One of the most prominent and widely acclaimed polish producers, returns after a two-year break with the new album called "Nobody Nothing Nowhere".

The fifth solo work of NOON was released by his own label called "Nowe Nagrania". The idea of "Nobody Nothing Nowhere" is connected to the various places in Poland and Europe: from the first sketches recorded in Gdynia, through Warsaw and London, to the final recordings in Łódź. Alan Kamiński is responsible for the graphic design of the album, based on NOON's own photos.

The atmosphere of working on "Nobody Nothing Nowhere" is similar to the aura of "Gry Studyjne" LP - NOON's sophomore album. However, this time NOON puts emphasis on much greater advancement, devoting himself to work alone with one analog beat making machine called Elektron Rytm Mk2.

Mikołaj Bugajak on "Nobody Nothing Nowhere" is accompanied by excellent musicians and also his regular concert partners - drummer Marcin Awierianow, bassist Piotr Połoz (both from polish post-punk band Psychocukier) and violinist Tomasz Mreńca. It is worth mentioning that NOON's part's contained on "Nobody Nothing Nowhere" were programmed on the machine in the shape of live performances, which gave the LP additional element of dynamism and life.

"Album called "Nobody Nothing Nowhere" is an album about escape, which turns out to be impossible. All these struggles and attempts to change destiny resemble a spiral journey. The albums consists of three parts, and is summarized by the song called "Spektrum".

My fifth album is released less than two years after "Algorytm" premiere in terms of experiences that I wanted to share with the audience." (NOON)

Afro futurist sensations Onipa unleash their debut album, combining Afro grooves, electronics and fierce energy for an effervescent celebration of cultural and musical encounters.ONIPA means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children, Onipa brings energy, groove, electronics, Afro-futurism, dance and fire! Born out of deep collaboration between long-time friends K.O.G (Kweku of Ghana of KOG and the Zongo Brigade) and Tom Excell (MD, guitarist and writer of acclaimed jazz/ soul afrobeat pioneers Nubiyan Twist), the group features KOG on vocals, balafon and percussion, Tom Excell on guitar, percussion and electronics, Dwayne Kilvington (Wonky Logic) on synths and MPC and Finn Booth (Nubiyan Twist) on drums.

The group have worked closely with Ghanaian star Wiyaala who features on three tracks, singing in the Sisaala language from the North of Ghana. The album also features collaborations with South African rapper Spoek Mathambo, Lesotho star Morena Leraba, Ghanaian percussion master Afla Sackey and Tanzanian sisters Pendo & Leah Zawose, each adding their own flavour to the project. “Through the musical prisms of London and Ghana our influences join together to create, a fundamental thread of traditional African rhythms, instrumentation and storytelling, interwoven with electronics, urban soundscapes and synth bass. We use technology, but it should never use us, our music is live and about deep human connection.” (Onipa)

With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely.

The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.

While both versions presented here have common elements, the ‘Movie Mix’ – so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ – goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.

Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

The outstanding 1971 debut by piano player and arranger Osmar Milito features his amazing cover of Herbie Hancock's Cantaloupe Island plus several classic Brazilian songs by Marcos Valle, Jorge Ben and Ivan Lins among others. Fierce samba jazz and bossa all the way through! The line-up of performing artists could hardly be more impressive: Quarteto Forma on vocals, Luis Ea, Marcos Valle, Pascoal Meirelles. This brilliant album is up there with the best work of Arthur Verocai and Marcos Valle. Presented in facsimile artwork and pressed on 180g vinyl

During the 90s, a walk around London’s Camden Market inevitably meant listening to the music with groove that the most popular DJs had made fashionable at the time: soul jazz instrumentals and Brazilian music targeting the club dancefloors. Among all those songs that ended up becoming classics of the scene was the amazing cover version of Herbie Hancock’s ‘Cantaloupe Island’ that Osmar Milito had recorded in 1971. This song was probably the main reason that made his LP for Som Livre one of the most sought after Brazilian records by collectors from all over the world. Now we finally have a new opportunity to enjoy this album, reissued on vinyl for the first time.

Along with the aforementioned version of Herbie Hancock’s song, this first album by piano player and arranger Osmar Milito is full of versions of Brazilian classics, from Marcos Valle to Jorge Ben or Ivan Lins. Fierce samba jazz and bossa all the way through! Note that Milito spent the first years of his career as a member of the backing band of big artists such as Elis Regina, Jorge Ben, Nara Leão... and after two years working with Sergio Mendes in the United States, he returned to Brazil and recorded his first LP.

The line-up of performing artists on this album could hardly be more impressive: Quarteto Forma on the vocals, Luis Eça, Marcos Valle, Pascoal Meirelles (what an amazing drummer he is!)... and both sides of the record hide a seamless sequence of solid tune after solid tune with similar doses of instrumental and vocal tracks. Just listen to the magnificent ‘Garra’, ‘Que bandeira’ or ‘Rita Jeep’, or the sweet samba that gives its name to the record, and you will see why this LP should be up there, next to the best works of Arthur Verocai and Marcos Valle.

The first album African Head Charge made for OnU since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!)

 This album is African Head Charge at their very
best, rich in varied percussion and spiritual chants,
set over hypnotic and transcendent layers of
African rhythms, trippy and bubbling dubbed-out
effects and trademark pounding bass.

 This is the first time the album has been released
on vinyl. Cut over 4 sides for maximum dynamics
by King Kevin Metcalfe.

 Includes double-sided poster insert featuring a
new interview with Bonjo, two bonus tracks and
digital download card for full contents.

Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. This was completely unexpected, a major learning experience, and above all a lot of fun and gave the Lyon-based gang a whole lot of ideas for the next stage in their musical journey, propelling them towards new musical horizons: infectious riddims with grooving keyboard & guitar licks as their bedrock and free association leading them into jazz, broken beat, soul or disco vibes … During the creation of Let It Shine, all doors were wide open and all musical genres potentially welcome. The production still has a « home made » feel to it, like the previous album, but with a modern, sonic twist when needed- a result of three years on the road together and new creative input from group members. Whether it be on a New York summertime roof-top, or settled in a Low-Rider with some G-Funk, or moving to some phat Jamaican style bass-lines or getting sensual on a tight breakbeat, lead singer Hawa knows how to shine her feminine and versatile brilliance on the project. She gives to the songs the final touch and the emotion needed to share with us her stories about human relationships - everyday tales sharing her real life-experience. This ever-expanding musical spectrum, Da Break play with it, explore it and also let it kick
completely free at times ! Song after song, they bring a magic glow to LET IT SHINE.

In September last year, Josh Tillman stopped by our Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised us all with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. We, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion.

As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before we started cutting the LP. He began with the debut performance of his newly penned 'Mr. Tillman' (foreshadowing its release as the first single on God's Favorite Customer 9 months later). We then used the second song as an opportunity to carve a 12' on-the-spot single of 'Now I'm Learning to Love the War,' which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you'll have to scour the depths of FJM's fan net.

Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare





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Groovin Recordings proudly presents the official repress of "Spanish Hustle" by The Fatback Band. Side A features the main versions from the original 1976 US single, while on the B side no other than two mixes by the King of Disco, Mr. Joey Negro, including his main remix and the additional "Beats" version that is out for the first time.

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Canyons are places of mystery and beauty. The interesting thing is, while they are one of the great wonders in the history of planet earth and attract scientists of all kinds of disciplines, they have also been a popular retreat for artists and musicians. You will have heard of Topanga Canyon, Rickie Lee Jones and Chicago recorded here. Laurel Canyon is even more well known, a mythical place where Crosby, Stills & Nash developed their unique vocal sound while hanging around Mama Cass' place. Or was it in Joni Mitchell's house on Lookout Mountain? Ok, you get the picture. There is something unexplainable, almost magical going on in canyons.

Maybe that's why Andy Platts and Shawn Lee were thinking of "Canyons" when they wrote and recorded their third album as Young Gun Silver Fox. With "West End Coast" and "AM Waves" these two very talented musicians, singers, songwriters, arrangers and producers already explored all things Westcoast, AOR, Softrock and Boogie. But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?

On "Canyons" Young Gun Silver Fox turned it up to eleven. They are nothing but "Kids" cruising in the fast lane, totally over the top searching for the "Dream Woman", touching down in Tokyo caught in a "Long Distance Love Affair", imagining the theme for a lost 70s TV series starring "Danny Jamaica", being on the winning side in a "Private Paradise", getting deep and soulful in "Things We Left Unsaid" and wondering how to spread "All This Love". Their bass lines, sound layers, brass arrangements and harmony vocals are immaculate. Everything fits perfectly. Just like this. "Who Needs Words" when everything is crystal clear? Exactly!

"Canyons", after all, are magical places of rare beauty. (Mr. Mellow - Porcaroc Club/Mr. Mellow's Sunday Scene/Soho Radio).

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with his fourth album 'My Life at 45'. The eagle eyed will have spotted the connection to the good Doctor's second album – 'My Life at 33' - and fans can do their own maths as to when they should expect the final RPM-punning release in the trilogy.

Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

The new album brings together stunning vocals from John Turrell, Izo FitzRoy and Stephanie Whitelock, whilst the instrumental tracks, showcasing the talents of long-time collaborators Jim Oliver, Jonathon James and Ben Castle, make it clear just what a crack production outfit the Doctor has put together. Got a lovely quote from Fatboy Slim: "Very soulful. Doesn't sound too retro. Just fabulous...."

UK Radio support has come in from BBC Radio 2 and 6 Music from Craig Charles (Spot play Trunk of Funk feature), Huey Morgan, Rylan and Paddy O'Connell. US Radio on KCRW from Jose Galvan, Karene Daniel and Garth Trinidad.

WW Specialist plays have come in on WWFM, JazzFM, Radio Krimi, Solar Radio, Radio 1 Prague, WMPG, Milk n Chocolate, Rai 1 Italy, KaneFM, Cannibal Radio, Radio Z Nurenburg and Radio Nova Portugal

Press: Bandcamp: New & Notable, 45Live, Sphere Of Hip Hop, Word Is Bond, The Dutch Guy, Last Day Deaf, Monkeyboxing, Flea Market Funk, Staccatofy, The Find Mag.

DJ support from Fatboy Slim, Laurent Garnier, Dj Yoda, Renegades of Jazz, DJ Andy Smith, Auntie Flo, Doc Scott, Smoove, Chicken Brothers, Crazy P, Satin Jackets, Marc Hype, Mr Benn, Mat The Alien, Basement Freaks, Renegades Of Jazz, The Allergies, Hint,

To call Marcos Valle 'a legend' of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the 'golden era' of the 60's and 70's, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.

‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio's Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or 'Os Grilos’ in Portuguese, which would also be re-recorded with vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records.

The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically.
Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art. Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.

F*CLR Records are delighted to release Dublin based producer and remixer Glenn Davis’s outstanding new EP, Namida (Tears of Happiness), the eagerly anticipated follow up to his hugely acclaimed Body & Soul’ 12”.

With remixes from Ashley Beedle & Darren Morris’s Afrikanz on Marz production unit, it has already been given the legendary François Kevorkian seal of approval with massive support on his Worldwide FM show. Mr Davis has been busy in the studio this year creating complete dancefloor and radio fire - house music to lift you up and save your soul.
The original mix of Namida (Tears of Happiness) would sit comfortably next to anything on the Nu Groove label roster, the Burrell Brothers would be saluting Glenn for his beautiful attention to detail.

Ashley Beedle x Darren Morris take their Afrikanz on Marz remixes onto a cosmic disco level and with a bass line that takes no prisoners, deliver a sparkling remix + dub. With the addition of the properly late night sleazy bizniss UGetting Down, it’s party time for deep headz. Enjoy!!