Buscar:one coast

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

Extra Noir is a coldwave, minimal synth and post-punk soundtrack based in South Korea. This is the first of a series of compilations, featuring artists from the hosts' three most recent homes - Scotland, Korea and Texas. Available on digital and limited release vinyl. About the artists:
Aadm Our Hatley is a Texas-based multi-instrumentalist who has played in a long list of underground Austin acts, such as Red X Red M, Attack Formation, Those Peabodys and Bangaar. He currently plays guitar in Chamberlain Greene and drums in Boss Eye. Straddling the dank border between industrial and no wave, Glasgow duo Total Leatherette also brings pervy disco fetish to their sleazy brand of mutant music.
Kübler-Ross is one of the many aliases of Glasgow electronic producer / remixer Dave Clark. A versatile and prolific producer, Clark has worked with JD Twitch of Optimo as one half of the Optimo (Espacio) remix team, played guitar in Badalamentian blues band Big Ned, and has been recently recording synth-based solo tracks as Kübler-Ross.
Comprised of techno producer Seonggu de Kim and minimal ambient artist Eajik, Airy Textile is a synth duo originally based in Seoul, South Korea. Their contribution to Extra Noir Vol. 1 marks their first release on vinyl. Tengger are an electronic psychedelic duo from Seoul, South Korea, comprised of Itta (harmonium and vocals) and Marqido (modular synth).
Texan synth wizard Xander Harris is one of the most influential artists in the 'horror disco' genre, and has consistently delivered tense, garish and unflinching journeys into the darkest domains of dance music. This track, 'The Velvet Hand', is exclusive to Extra Noir Vol. 1. Pecht is the nom de plume of a Manchester-based solo artist who retreated to the wilds of northern Scotland after years in the London entertainment industry. His self-titled debut album was recorded during his exile on the north coast. 'unlock' is Pecht's first release on vinyl. Cucina Povera is the musical identity of Maria Rossi, a Glasgow musician and vocalist originally from Finland. She is a collaborator in Luxos with Daniel Magee of Lo Kindre, and a former DJ on Glasgow's Subcity Radio. Her debut LP, Hilja, was released in January 2018.

Crying Bamboos is a translation of the pidgin description of the sound of sacred flutes: "Mambu i cry, i cry, i cry".

Sacred flutes are blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. There are seven male initiation flute cries from Bosmun, four flute cries from Bak: Borai with occasional single garamut percussion and two flute cries from Kaean, one with vocals and hand drums. The flute players were of the last generation to have learned this skill during a complete cycle of male initiation. These previouslyunreleased recordings were made in 1979.

Recorded by Ragnar Johnson

Notes by Ragnar Johnson and Jessica Mayer

Photographs by Ragnar Johnson

Tape to digital transfer and mastering by Dave Hunt at

Dave Hunt Audio, London

Cut by Rashad Becker at Dubplates and Mastering, Berlin

Bergen is the next, and natural step in the expanding career of Dutch producer Tom Trago. The acclaimed producer behind Voyage Direct will release his fourth LP, with the label and crew he's built a close relationship with over the past ten years - Dekmantel. With a new studio and approach to music, Bergen is Trago sounding at his very finest, returning to his roots with a focussed, and dedicated production ethos.
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'If you change your environment, your music will also change with you,' Trago reflects on the new album. A staple in the Amsterdam club scene, Tom Trago has been a familiar face at the Dekmantel events for over ten years. 'I was even playing Dekmantel parties, before they were even called Dekmantel,' he states. Tom Trago's collaboration with Dekmantel has allowed him the space to grow and finish his most accomplished, and honest album to date. Bergen is an LP that connects his legacy, family, and commitment to dance music in one resplendent package.


Having relocated from Amsterdam, Tom Trago set up his new studio in the coastal town of Bergen, located in the northern Netherlands. Recorded in his family house, with the sea at one side, and the countryside to the other, the resultant record is a craftful piece of art, full of space, and the classic machine-driven, house music aesthetic that has come to represent Trago's sound. Bergen was made with the aim of re-creating a global-music sound, along with the music that has influenced him throughout his life, with a new approach influenced by Trago's immediate natural environment. 'I would take long walks in-between tracks,' explains Tom about the music making process, "and the creative ideas would happen in the forest."

The spacey-passively-paced LP intro 'Bergen' was the first to be picked up by Dekmantel's Casper Tielrooij, who upon hearing the track stated - 'now we are talking album business'. Yet it was the electro- orientated 'Zeeweg' that became the template for the rest of the record. 'The LP was built around this track,' Trago states. The b-boy electro vibe, with its melodramatic synth melody was influenced by the road that leads to his scenic retreat - with slow, steady curves, and a gentle, upward trajectory, Zeeweg and its album namesake, twist and turn in fluid synchronicity. 'The Creation of Lalibela' plays on this world music vibe, with ethereal and fun key patterns, influenced by the work of Mulatu Astatke. 'Always be with you' is one of the LP's standout tracks, epitomising the new album's country settings, and featuring his girlfriend on vocals; it swings at a steady, up-beat pace, rich with harmony, colour and melody. Elsewhere on the album, Trago sticks to his dance floor roots, 'Faith Belongs to Us' is moulded in a Chicago-to- Amsterdam house style, while album closer 'Working Machines' plays with resonance and atmospherics, creating a moody, pulsing yet stylish rhythm.

Having been raised in a musically-driven, and open-spirited household in which the producer grew up learning the piano, it didn't take long for Tom Trago to be indoctrinated into the new school of Amsterdam producers. Studying at a private jazz school while still a teenager, Trago would eventually come to cross paths with the hip-hop loving Dutch duo Rednose Distrikt, who left a permanent imprint on his approach to music. 'They showed me a world of music making using the MPC,' Trago says. 15 years later, the Dutch producer still sticks to this template. Looking to recreate this production approach that influenced him from the very beginning, Trago stripped down his studio to a simple setup with just a few, key 'weapons of choice'. Removing the computer from the setup, the MPC 2000 XL once again became the heart of the music making process. Bergen's analogue tools lend to its organic sound, one honed and crafted by its natural surroundings, and matured approach by one of the Netherland's most accomplished producers.

Tommy Mandel's Mello Magic' on Invisible City Editions is a compilation of personal synth-laden pop songs created between 1980-87 in NYC. BIG BIG TIP!
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His professional work as a keyboardist and vocalist found him on stage and in the studio with many of the 80s greats from the Clash, Todd Rundgren, B-52s, Violent Femmes, The Ramones, Tina Turner, Mark Ronson, Dire Straits and Bryan Adams. While offstage and out of the major studio sessions, Tommy wrote in little books, made animation films and hooked up a massive amount of synthesizers, sequencers,microphones and recorded songs like diary entries. He self released almost 20 CDs, cassettes and one Self Titled 12' Ep. Each song selected here is stunningly simple, lush, desperate, playful, and harmonic, touching on disparate trangents like Brian Wilson, Egyptian Lover, Michael Shrieve,Holger Czukay, Ariel Pink, YMO, AOR FM West Coast Rock, Arthur Russell, Martin Denny, Peter Gordon, Drexciya, Prince and Private Issued New Age Boogie. Tommy recently jokingly coined his music corporate ambient' and and it all shouldn't work, but somehow he manages to effortlessly make each song a Tommy Mandel song - DIY, homespun,personal, stunning, and not too serious. This is perfect pop, charming, sincere, infectious and the work of a humble, good hearted, romantic savant. Tommy Mandel's Mello Magic' will be out on limited LP Vinyl release and available Spring 2018. Be sure to check his ambient new age LP from his cassette Music For Insomniacs'also out soon on ICE/Intelligent Instruments. Designed by Marko Vuleta-Djukanov. - Sesto F

Originally from the United Kingdom, funky soul-jazz veterans The New Mastersounds have been touring USA, Europe and Japan for over a decade and return here with their twelfth studio album, recorded in New Orleans and Denver and featuring a slew of musical guests.

"Renewable Energy" expands on the NMS template while still providing plenty of the band's trademark sounds. Guitarist Eddie Roberts, drummer Simon Allen, bassist Pete Shand and keyboardist Joe Tatton are joined on this 11-track effort by a number of guests: Sam Bell, one of the founding members of NMS precursor The Mastersounds who also guested on two previous NMS albums, plays percussion on most of the tracks. Mike Olmos and Joe Cohen of the West Coast Horns once again provide added horn action as they did on "Made For Pleasure" from 2015, while Adryon de León from LA band Orgone contributes vocals on "Gonna Be Just Me". Uptempo numbers "Tantalus" and "Yokacoka" see the band flexing their playing chops over a tightly-wound rhythm, while "Green Was Beautiful" and "Groovin On The Groomers" are toe-tapping slabs of soul jazz. The band's cover of James Gang's "Funk 49" takes the album in a fuzzed-out psych-rock direction with Eddie singing the lead, while the moody Hancock-esque inflections of "Stash" and the sweet mellow vibes of "Swimming With My Fishies" add the final brushstrokes of colour to the canvas.

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

We got to know Dan Only, an exciting emerging artist from the Toronto underground, when he collaborated with Jesse Futerman on our recent 'Deep Love 2017 compilation. His debut record, released on Adam Marshall's 'New Kanada' imprint, introduced his deep instinct for electronic music and unique, boundless approach to deep house. An avid collector of old school gear you can hear the analogue warmth throughout this intricately detailed yet heavy hitting four-tracker. 'It's Clear' opens. A solid House jam, its thumping drums and resonating melodies follow a steady bass groove ready to heat up the dance floor. 'Be Major...Believe' leads in more gently before warbling key lines and synth details layer over gritty percussion pushing the mood closer and closer to bursting. This one conjures images of summer nights and distant coast lines. On the B, simmering vocals and tropical rhythms dance amongst straight forward house energies on 'Don't You Understand". Rich with subtleties, it's somehow smooth while seriously impactful. Finally we have 'Truffles". A very modern twist on Disco vs House it's an original Italo infused gem with an edit feel, that maintains the vibe of an 80s era hedonistic night throughout. Perfect as a peak time mood elevator or blissful, hands-in-the-air closing record. We're convinced Dan Only's future is bright and are overwhelmed by the quality and musicality of this, his first solo EP on Dirt Crew Recordings.

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

Fernando Pulichino is no stranger to Leng Records. The bass guitar-wielding Argentine made his first appearance on the label five years ago via the cosmic disco/psychedelic rock fusion of Blue Impala, returning two years later with the similarly inclined brilliance of Giant Desert. Pulichino then resurfaced on Leng late last year with a superb, digital-only three-tracker called Natural 77.

Now he's back on wax, buoyed by the success of the acclaimed Shining EP on Is It Balearic
Recordings. This time round he's in Search of Indigo, shaping hazy, sun-baked soundscapes around his distinctive basslines, echo-laden synthesizers, meandering Fender Rhodes solos,
gentle dub vibrations and glistening, early morning jazz guitars. This is music for the heads, hips and feet, soaked in Fernet and left in the afternoon sun to slowly ripen.

Arguably the most arresting of the four cuts is the title track, a head-in-the-clouds vocal number rich in bubbly electronic riffs, laidback electro beats, ricocheting percussion hits, swirling wind
effects and rubbery funk-rock bass.

Pulichino's penchant for intergalactic disco shufflers once again comes to the fore on killer Sundown Visions', a saucer-eyed chugger that simultaneously throbs, pulses and sparkles
thanks to sparring synthesizer motifs and eyes-closed space rock guitars. We suspect Daniele Baldelli and Andrew Weatherall would approve.

Elsewhere, Pulichino indulges his passion for sofa-surfing jazz-funk on solo-laden EP closer Frontera', a relaxed and undulating jam rich in cascading electric guitars, fluid electric piano, delay-laden flourishes and deep space synthesizers. You won't know whether to lie down, dance enthusiastically or wearily shuffle, either way, play at sunrise or sundown for maximum
enjoyment.

The EP also boasts a first vinyl outing for the title track of last year's digital-only EP, Natural '77'. Seemingly partly inspired by legendary West Coast funkateers Steely Dan, it's a lazy, low-
slung affair full of languid guitar solos, freestyle vocal improvisations, bongo-laden drums and one of his most inspired and elastic basslines to date.

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Recorded in 1953 and 1954 with a veritable who's who of West Coast cool jazz including backing from Zoot Sims, Bud Shank, Shelly Manne, as well as arrangements from Jack Montrose, and Shorty Rogers, Chet Baker & Strings is a beautiful and airy collection of some of Baker's most sultry trumpet work. The string section perfectly complements the cool jazz quintet backing and makes this one of the Baker's finest and most unique sets. Essential.

Dungeon Acid, bred in Gothenburg's (Sweden) obscure music scene during the eighties and nineties, releases his second 7inch on Hoga Nord Rekords. Dog Acid and Sex Beat focuses on those remote corners where Jean-Louis Huhta have rooted his musicality. With legendary bands like Cortex, Anti Cimex and The Skull Defekts on his resume, Huhta is most definitely one of the most interesting artists in Sweden!
The music on this 7inch breathes sex, concrete and dark seas. The tracks differ in instrumentation but they expresses the same feeling: uncomplicated and straightforward components, perfectly balanced In relation to each other, shutting down unnecessary body function, aiming for your lower back. Spastic curling synthesisers rests upon soundwaves heavier than the swell against the Norwegian North Atlantic coast.
Dungeon Acid is the miner of your record crate - hard at work finding the nuggets in punk, rock and electro to develop the strict techno.

Ebo Taylor is a legendary guitarist, composer, arranger and producer from Accra, Ghana. A leading light of Ghanaian music since the 1960's, Taylor is still touring and recording, and at the age of 80 will be releasing a brand new studio album on Mr Bongo in 2018.
For this album, Ebo joined forces with 12-piece band 'The Pelikans' — from the Cape Coast region of Ghana — led by Bessa Simmona, with rhythm guitarist Fifi Orleans Lindsay. A genuine 'holy-grail' of Ghanaian music and one of Ebo's most saught-after.
The album was released on the small Abookyi label. Named after a nightclub they played in called PELIKANS, and sung in English and Fante, this was the first album where Ebo sang on tracks, such as the classic 'Come Along', on which he also plays keyboard. This song clearly defined a new direction in highlife and has become a Ghanaian funk anthem. 'Come Along' formed the basis of Sadat X's 'Remember That' hip hop jam from 2011.
This official Mr Bongo re-issue is packaged in our new & improved heavyweight 'tip-on' sleeves, printed in Japan, pressed on high quality vinyl, with label designs and artwork as per the original release. Ebo's forthcoming new studio album, 'MIND YOUR OWN BUSINESS' is set for release in spring 2018, on Mr Bongo.

Fourth studio album by East Coast hip hop collective. Originally released in 2001 & now reissued on double black 140gm vinyl with download code insert.

The Numero Group's dive into the deep end of America's private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it's time to take it easy.With pop music's volume knob adjusted for deflation in the early '70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock's softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

Aficionado enjoyed a storming start to 2017, serving up a pair of sell out EPs from either end of the Balearic shoreline - now they're back with one more for Good Measure.
Teaming up with the Mancunian fashion house for a second season, this sonic selection pack is softer than velvet, smoother than silk and more durable than Moonboots' P.E. kit.
Pour yourself a spritz, slip into something stylish and bask in the brilliance of 'Good MeasurePt.2' Bird song blends into synth swell as 'Ottimismo' shakes our hand, pulling back a deckchair and inviting us to relax and recline with its simmering percussion, swaying bassline and delicate fretwork.
London's Simon Peter is the man behind the music, following a gorgeous 12" on Claremont 56 with another sun kissed soother perfect for a coastal drive, morning swim or lazy siesta.
We take a small step towards the fiesta on the A2, rolling our shoulders and nodding our heads to the infectious rhythms of Simon Cotter's 'Pianta Road'.Though the claves, woodblocks and guiro may dart like dragonflies over a midsummer drum pattern, the Australian conjures a calming breeze via Casiotone keys, spheric bass and sublime strings.
If that weren't enough to make your ice cube melt, the exquisite cascade of well-tinkled ivories could bring a tear to a glass eye and a smile to a cliff-face.The sultry sounds continue on the B1 as France's Murena charters a yacht from Saint Tropez to Es Canar, cutting through the dazzling azure with 'Un Prueba De Amor'. DX7 chimes and digital pan pipes glisten in the spray while a lilting groove rises from the deep, picking up snatches of distant conversations and the rise of tidal sine waves as it goes.
Drifting, dreamy and more debonair than Boardman's cravat, this is as Balearic as it gets. From here we go sublime, waltzing beyond the sunset to the baroque soul of B&B's 'Read Me'.
Waves crash and strings screech, a roaring storm kept at bay by warm double bass, pizzicato melody and spirit lifting poetry. Hints of hip hop and dub colour the immersive groove, while those neo-classical flourishes favour the cinematic diversions of PCO or Monsieur Tellier. Officially Aficionado.

Undefined is back and extending the legend saga with the highly experienced, creative genius Todd sines.
Todd began creating music in the late 80's, ranging from post-punk and industrial, to techno and house. While digging through his material on Discogs, one can easily notice the great variety of sounds he has developed throughout the years, using multiple aliases like .xtrak and Enhanced.

Todd kicks off this EP with 'Coast', easily recognizable by it's complicated drum patterns, vocal snippets and deepness. Shcaa did an amazing job on the remix as well, using some of Todd's elements to form the core of a true minimal pumper. The breaks are scary as hell and will certainly result in a perfect dark atmosphere on underground dance floors.

On the flipside Todd again shows diversity, as he delivers Throwback and Waves of love. Both of them are house oriented and have energetic acid basslines, fitting together perfectly.

Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.

For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!

Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts

Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )

The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)

BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.

We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.