One of Tom Trago's biggest tracks, now repressed! The Original Mix and backed with the huge Carl Craig Rework.
'Use Me Again' is Tom Trago's evergreen club classic. Originally released at the start of 2010 it became a staple track in many a DJ set. The track is based around an infectious loop in true disco spirit. It lights up every dancefloor its been played to - and still does.
Carl Craig has been one of the track's biggest fans ever since it came out, playing it out in almost every set at a certain point. For this release he came up with a typical c2 re-tweak. Big one!
Cerca:one man
- A1: Jancen - Voided Oasis
- A2: Arthur Robert - Dyson Sphere
- B1: Vinicius Honorio - Tundra
- B2: A-Sts - Transit
- C1: Len Faki - Stardancer
- C2: Jeroen Search & Decoder - Fiber
- D1: Iglo - Paraphrase
- D2: Glaskin - User Illusion
- E1: Scheermann - Elura
- E2: Obscure Shape - Träume Im Nebel
- F1: Roman Poncet - Icelander
- F2: Arkan - French Kiss
Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.
The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.
Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.
Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.
It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.
- A1: Dj Funk – Face Down Ass Up (Original)
- A2: Dj Funk – Pop Them Thangs
- A3: Dj Funk – Jerk It
- A4: Dj Funk – Booty Perk U Later (Remix)
- A5: Dj Funk – Fast-N-Crazy (Backwards)
- A6:
- A7: Dj Funk – Pump Up Da Jam
- A8: Dj Funk – Been On Over
- B1: Manatane – Face Down Ass Up
- B2: Manatane & Mr Fab - Cryptomania
- B3: Dj Funk – Face Down Ass Up
- B4: Dj Funk – Pop Them Thangs (Original)
- B5:
- B6: Dj Funk – Pop Da Pussy
- B7: Dj Funk – Pump Up Da Jam (Intro)
- B8: Dj Funk – Butt Shaker
Audiotech is one of the many visionary aliases of Juan Atkins, the Detroit pioneer widely recognized as one of the originators of techno. Originally released in 1987 on Express Records, "I'm Your Audio Tech" captures a crucial moment in the evolution of electronic music -- when raw machine funk and futuristic minimalism merged to form the Detroit sound. Now, nearly four decades later, this classic returns newly remastered and presented for the first time on Metroplex, the label founded by Atkins himself. The reissue preserves the deep pulse and metallic warmth of the original, giving new clarity to its hypnotic basslines and mechanized rhythm patterns that defined an era of innovation. A timeless piece of Detroit's musical DNA -- meticulously restored for a new generation of listeners and collectors.
Originally issued in 1996 and now re-pressed for the first time by A.R.X. and Krisis Publishing, Pressure of Speech ''Our Common Past, Our Common Future'' remains one of the best-kept secrets of 1990s British electronica. Founded by Mickey Mann, together with fellow explorers Luke Losey (lighting designer for Orbital) and DJ Stika (already part of Spiral Tribe), their elusive second album is an obsidian relic of screwed ambient techno, mutant breakbeat and hypnotic radical sounds excavated from the goldmine of the UK's post-rave underground.
- A1: One Of These Days 02 53
- A2: Magnificent Fall 04 38
- A3: Boneless (Grizzly Bear Remix) 02 53
- A4: Blank Air 04 34
- A5: Avalanche 02 33
- B1: Run Run Run (Ada Remix) 05 17
- B2: Red Room 05 22
- B3: Come In 03 43
- B4: Solo Swim 05 51
- C1: Sleep (Odd Nosdam Remix) 03 06
- C2: Intro Live From Alien Research Center 09 01
- C3: Who We Used To Be 03 31
- C4: Das Verschwinden 01 10
Magnificent Fall, The Notwist's new rarities compilation, compiles some special and wild moments from this unique German indie group's rich history. They've always snuck gorgeous songs and thrilling remixes onto split singles, extended plays, and other formats, across their career, and pieced together here – compiled thoughtfully, with sensitivity to flow and the listening experience – these thirteen selections work as a kind of ‘shadow narrative’ of The Notwist, an alternative index of the possibilities this shape-shifting group uncovered during their time together.
They've been smart to let go of chronology when sequencing Magnificent Fall, so the songs here move across phases and stages of The Notwist's career, helmed by brothers Markus and Micha Acher. This approach makes plenty of sense, as this music compiled here abstracts from two impulses – to push forward and not repeat what has come before, while building from the group's very specific musical language. Just one example: the loveliness of the instrumental “Avalanche”, from 2020's Ship, follows elegantly from the happy-sad glitch-pop of “Blank Air”, from a 2010 split with former member Martin Gretschmann's project Console. Different phases, different memberships, shared concerns.
The Notwist have always been interested in and open to community, and one of the many ways they reach out to others is through the remix. There are three here, sent back to The Notwist from different corners of the world, both aesthetically and geographically: Grizzly Bear take on “Boneless”, Ada tackles “Run Run Run”, and Odd Nosdam submerges “Sleep” in noise and clatter. Another connection, of course: Odd Nosdam is part of The Notwist's extended family, through Markus and Micha Acher's 13 & God project with fellow Anticon artists Themselves and Subtle.
So, the music on Magnificent Fall traverses varying terrain – abstract hip-hop, chamber pop, sweet and simple folk song, indietronica, free-floating improvisation. There are several unreleased songs, as well, drawn from across the group's history. Core to it all, though, the thing that makes The Notwist so singular, is the thumbprint of the Acher brothers, their gently poetic way of moving through the world and welcoming other musicians and artists into the fold, expressively and with generosity.
Historically aware without being nostalgic, Magnificent Fall is the perfect way to introduce The Notwist's reissue programme with Morr Music, too, including a box set, and the group's eight albums, documenting their three-and-a-half decades of music and community-making. Looking back to move forward? It's a very good idea.
Some records are answers to questions no one asked out loud. With Where is Acid Eric, Cornelius Doctor & Tushen Raï deliver a psychedelic missive from a parallel timeline — a time-traveling tribute to Goa’s golden age, filtered through their unmistakable signature.
Returning to their home base, Hard Fist, the duo steps into new territory with this release, and yet, it feels like they’ve been heading here all along. This isn’t a retro-fetishist trip, nor a copy-paste homage. It’s a reimagination of a sound, a space, and most of all, a spirit.
The EP is rooted in the mythic nights of late-80s and early-90s Disco Valley, where British acid house collided with Indian hedonism, where freedom wasn’t a pose but a necessity, and where dancefloors became temporary utopias. But in the hands of Cornelius Doctor & Tushen Raï, this past gets warped, stretched and reanimated with 2025’s tools and sensitivities.
Across three extended tracks, the duo summons a sound that’s dense yet breathable, tribal yet precise, nostalgic yet futuristic.
They weave Goa’s swirling trance lines with broken rhythms, analog squelches, and post-industrial textures. The acid lines are sharp, but never cliché — more mantra than gimmick. Voices float in and out like half-remembered chants. Basslines slide, hypnotize, and then vanish in a cloud of smoke. It’s not a flashback. It’s a vision.
The title, Where is Acid Eric, feels like a lost broadcast — part question, part invocation. Eric is a symbol. IS Eric a ghost ? The true legend of a forgotten raver on a dusty Anjuna morning. What matters is the search. The longing. The dance.
Hard Fist, true to its form, continues to blur the lines between ritual and rave, tradition and invention. And with this record, Cornelius Doctor & Tushen Raï don’t just revive a genre — they reconnect with an ideal: dance music as exploration, as transcendence, as resistance.
One foot in the dust, one foot in the cosmos. The answer isn’t important. The trip is.
SOPHIE’s ‘OOH’ and ‘GET HIGHER’ are now available as a double A-side 12" vinyl. This release follows the single-series packaging format used for the other singles from PRODUCT: one track and slide image per side, black vinyl in a black inner sleeve, screen-printed with a white SOPHIE logo housed in a clear archive bag.
Earlier in 2025, Numbers marked 10 years since SOPHIE’s game-changing singles collection PRODUCT, with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.
SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ were joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.
‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.
SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.
The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.
‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.
• Digital download card
phatmedia presents UK Rave Flyers 1988 – 1989 includes over 800 flyers from iconic events like Shoom, Hedonism, Future, Spectrum, Land Of Oz, Apocalypse Now, Hypnosis, Sunrise, RIP, Coozz, Trip, Sin, Genesis, Rage, Wetworld, Rave At The Cave, Boilerhouse, Trip City, the Hacienda and many more one-off and smaller promotions.
It also includes commentary from Dave Little, Andy Boilerhouse, Pez, Steve Reid (Shoom), Ellis Dee, Chalk E White, Nicky Holloway, Mr C, Ratpack & many more. Plus, photos from clubs of the era taken by Dave Swindells, Kevin Cummins, Peter J Walsh and Gavin Watson.
Quotes
“We would be lost without Dave’s incredible documentation of flyer history. If we didn’t have his absolute precision in sharing dates within the timeline. So much of the exact history would be lost. phatmedia is an asset to the entire rave scene and history.” Billy Daniel Bunter
“Rave flyers capture an essential piece of cultural history. More than just advertisements, they reflect the creative energy of the early rave scene and serve as a window into the underground music culture of the time. Each flyer tells a story about the events, people, and communities that helped shape the movement.” Eddie Richards
“This book is more than just a collection of flyers; it’s a time machine. It’s a tribute to the birth of a culture that shook the world. We built something from nothing. Every flyer, every illegal rave, every risk we took, it created a movement that would become a multi-million pound industry.” DJ Phantasy
Quartz is a respected drum & bass head with a precise and minimalist - but always cinematic - production style and that's clear again on this new one for Droogs. The A-side features solo cut 'Duplicity', which is a stark and electrifying trip into drum & bass darkness with tight basslines and subtle shifts that prove less is more. The B-side, 'Black Prism,' sees Quartz team up with Overlook for a throwback to raw 90s techstep and all the tight but manic breakbeat action that comes with it. It's a tune of unrelenting tension that resolves into an unexpectedly serene close. Sophisticated stuff from all.
Very excited to present this new project on Macadam Mambo, actually it’s not properly new…
Dr Strange was one of the alias of Erick ‘ADN’ Ckrystall’ circa mid-90’s till early 2000’s, when he was producing a sort of Leftfield-Trippy-Goa music, including a lot of Ambient stuff mostly released on CD on a series called Animorph. Everything had a very cinematographic touch like it was made for some documentaries about amphibians and snakes that would evoluate in the deepness of the jungle or on some exotic island...
The music was so magical, that the envie to do a mini-retrospective of the CD series came instantly, specially because none of those golden gems had never been printed on vinyl, It was also a good way to put into the light the Dr. Strange side of ADN’ Ckrystall which was kept in the shadow since many years and that deserves much more attention as the regain of interest for the goa scene has been rising in the last few years.
For the afficionados of proto/early Goa music and trippy ambient in the vibe of the Orb or labels like em:t or Barooni…
2025 Repress
"Cake" was a New York band formed in 1973, following a line-up tweak and a change from their previous name "Mixed Company» (referring to the racially mixed personell). At Arabellum Studios in Colony, Albany, NY, the band recorded their only 7-inch single. "Make Up Your Mind" / "Let Your Body Go» was released on Key Records in 1979.
Half a life time later, after appearing in DJ mixes and online auctions in the late 2000s, the single started gaining notoriety among DJs and diggers. Working its way up to "holy grail" status on the modern soul and disco collector scene, original copies of the sought after record would eventually sell for as high as $1000.
In 2012, Hans Jørgen Wærner (Mutual Intentions Co-Founder and notorious disco collector) got in touch with Arabellum studio owner Art Snay who produced the record. This lead him to lead singer Bob Treffiletti who had a cassette tape with unreleased long versions of the songs. The sound quality of the tape was not adequate for what Hans had in mind, and so the hunt for the original master tapes began! Unfortunately, Art Snay later passed away. At one point chances of finding the original recordings seemed so slim, the project was all but abandoned….
Luckily, Bob managed to get hold of the master tapes via Art's wife and they were sent away to legendary disco mixer / remixer John Morales, who transferred the tape to digital format. After several rounds in one of Norway's best mastering studios (Strype Audio), noise reduction and sound surgery were done while retaining the soul of the original recordings. The songs were finally ready to be pressed on the format they have always deserved: the 12-inch disco single!
The 12-inch comes with four 5 min + long songs and can be pre-ordered now. The high-quality lacquer cut pressing is produced at Optimal Media in Germany and limited to 300 copies worldwide.
R.i.O. welcomes a new member. Straight in full length. An album created by Dorsten,North-Rhine-Westfalia based producer Aroma Von Troisdorf - a man who refuses to be putin a box. Unlike others, who politely stay in one lane, he is a tuneful shape shifter. Alreadyhis 2021 debut on the Cologne based label Papercup Records smashed Krautrock, Synthpop,Electro, Ambient, and dub together. His 2023 and 2024 Papercup Ep's "Buttergolem"and "Rodeln am Rhein" added Italo-Disco, Synth-pop and a drop of experimental Electroto his versatility. Now eight new creations, brilliantly composed, yet - even in odd flashes -effortlessly catchy. They bring once more a stylistic melting pot, now enlarged with TheCure-ish dreamscapes, stretching over guitar riffs and bass grooves, like in the closingambient-folk star "Zeiten" or the dreamy opening track "Fog Frog Green". There is themotorik krautrock pulse of "Osmopower", that boogies heavy in drum machine hypnosisunder Aroma's entrancing new-wave vocals. Tunes like "Dreams Unfold" or "AmplifyShrooms" are likewise propulsive, each one psyching in its very own rhythmic sector. Morevoices are present too. In the two-minute manic preacher "Colas", were Togolese rapperand political activist Yao Bobby chants edgy. Or in "Closer", where singer Aprico sendsspoken-word trances echoing through the cosmic jacking. And there is "Lovers Lake", ahypnotic drift of witchy vocals, bluesy chords, and endless synthscapes, that makes youswim on your feed. Shift the shapes, "Blaumilch" opens the gates.
- A1: Foggy Eyes Return
- A2: Low Notes
- A3: Rotten Luck
- A4: Fog Life
- B1: High Road Feat. Eric The Red
- B2: Elsewhere Feat. Smellington Piff
- B3: Worry Lines
- B4: Lightly Toasted
- B5: Nobody's Perfect Feat. Datkid
- C1: Flying Lessons
- C2: City Limits Feat. Chillman
- C3: Ownership
- C4: Rotations
- C5: Lifesaver Feat. The Four Owls
- D1: Take Time Feat. Wishmaster
- D2: New Paths
- D3: Sun Rays Feat. Jman
- D4: Nothing Is New
- D5: Time Frame
High Focus Records is proud to unveil the artwork for the forthcoming Verb T & Illinformed collaborative album: ‘The Land Of The Foggy Skies’, designed by Siou Escalon.
As you would expect from two of the hardest working artists in the UK rap game, Verb T & Illinformed have delivered a fitting sequel to the iconic 2015 release ‘The Man With The Foggy Eyes’. The pair have both raised the bar, taking their already incredible chemistry to new levels, as demonstrated with singles ‘Rotten Luck‘ & ‘New Paths‘.
An all encompassing cinematic opus, ‘The Land Of The Foggy Skies’ once again proves why Verb T is one of the most decorated MC’s in UK Hip Hop and why Illinformed is in a class of his own when it comes to production.
- A1: Robot Rock (Soulwax Remix)
- A2: Human After All (Sebastian Remix)
- A3: Technologic (Peaches No Logic Remix)
- A4: Brainwasher (Erol Alkan's Horrorhouse Dub
- B1: Prime Time Of Your Life (Para One Remix)
- B2: Human After All ("Guy-Man After All" Justice Remix)
- B3: Technologic (Digitalism Remix)
- B4: Human After All (Emperor Machine Version)
- C1: Technologic (Vitalic Remix)
- C2: Robot Rock (Daft Punk Maximum Overdrive Mix)
- C3: Technologic (Liquid Twins Remix)
- C4: Technologic (Basement Jaxx Kontrol Mixx)
- D1: Human After All (The Juan Maclean Remix)
- D2: Human After All (Alter Ego Remix)
- D3: Technologic (Knight Club Remix)
In celebration of the 20th anniversary of Daft Punk’s chart-topping third album Human After All, a Limited Edition 2LP gatefold version of the companion album Human After All Remixes is set for release on November 28, 2025. This marks the very first vinyl edition of the complete collection.
Human After All, the third album from Daft Punk, was originally released in March 2005. It was produced in just six weeks, a major departure from the timeline for their previous release, Discovery, which took over two years to produce. A year after the release of Human After All, a collection of Human After All remixes tracks was released on CD exclusively in Japan, including reworkings by Justice, Soulwax, and SebastiAn, among others. In June 2014, an expanded CD version was released (also exclusive to Japan) featuring additional remixes from artists such as Basement Jaxx and The Juan Maclean. The album was made available to stream internationally in August 2014.
Human After All Remixes will now be available for the first time on vinyl in limited quantities.
- A1: Perot Ft. Seth Troxler & John Camp
- A2: World Keeps Changing
- A3: Midtown Mirage Ft. Taylor Bense & John Camp
- A4: Bond Ft. Taylor Bense, John Camp & Dillon Cooper
- A5: Nrg
- A6: Real Job Ft. Taylor Bense
- B1: Hat Down Ft. No Regular Play
- B2: $1000 Ft. Taylor Bense
- B3: Hold Dear
- B4: Carousel Ft. No Regular Play
- B5: Sometimes It's About Us Ft. John Camp & Michael Feinberg
A DJ, producer and prolific collaborator, Greg Paulus’s musical career has led to a truly enviable discography. Born in Minnesota and now an essential part of New York’s sprawling musical landscape, Paulus has taken the foundations of an organic childhood education by his father, the composer Stephen Paulus, and seen it blossom into an unpredictable musical journey encompassing house, soul, jazz and hip-hop.
While touring as a trumpet player with indie band Beirut, as well as in Matthew Dear’s live ensemble, back home he was helping to redefine New York’s underground dance scene as one half of No Regular Play. Alongside childhood friend Nick DeBruyn, the pair brought their deeply musical sound to no less than fifty countries across the world. A decade on, and Paulus arrives on Seth Troxler’s Slacker 85 imprint for his long-awaited debut solo LP, ‘Close To Home’, a deeply felt long-play celebration of his personal cornerstones; family, trust and hope.
From the opening, organic swell of ‘Perot’, arranged with Seth Troxler himself alongside John Camp, ‘Close To Home’ introduces itself as a focused, conscious trip, it’s languid trumpet spilling over into the reflective ‘World Keeps Changing’, which introduces Paulus’s philosophy of music as a constant. ‘Midtown Mirage’ meanwhile leans into the idea of the city itself as a collaborator, resisting pressure and finding its own restful groove. Back over the river, ‘Bond’ roots itself in Brooklyn with a contribution from resident Dillon Cooper, flipping rap standards amid psychedelic flourishes.
Paulus nods toward his dancefloor form on ‘NRG’, a slinky, lo-slung club groove that seamlessly evolves to meld the artist’s nocturnal and studio instincts. In contrast, ‘Real Job’ switches the tempo on Paulus’s MPC to embody an old-school, beatdown flavour, subtly teased out alongside composer and sound designer, Taylor Bense. Doubling down on this languorous groove, ‘Hat Down’ introduces a full-scale No Regular Play reunion, the first of two collaborative tracks that recall the duo’s imperial phase of confidently minimal productions, while evolving their craft.
Following a few missed calls made with love taken from Paulus’s answering machine on ‘$1000’ the minimal, reflective arrangement of ‘Hold Dear’ finds the artist stripping back his layered sound for a skittering, vulnerable exploration of intimacy and life’s devotions.
For a memorable finale, Paulus recruits jazz prodigy Michael Feinberg to deliver upright funk on the deliciously rich ‘Sometimes It’s About Us’. A purely celebratory collage of bopping rhythms and vocals, sharply plucked guitars and archive samples, ‘Close To Home’ concludes with Paulus leading his friends, ensemble and many influences in rare harmony.
- A1: Bambu" (Melvin Sparks)
- A2: Knock On Wood (Steve Cropper, Eddie Floyd)
- A3: Bus Ride (Wilson)
- B1: Orange Peel (Wilson)
- B2: Twenty-Five Miles (Johnny Bristol, Harvey Fuqua, Edwin Starr
- B3: Blue Mode (Wilson)
The organist’s classic 1970 album. His third record for Blue Note and one of the key soul-jazz workouts of the era. Recorded at the Van Gelder Studio on 12th December 1969. Produced by Blue Note co-founder Francis Wolff. Featuring a red-hot backing band of tenor saxophonist John Manning, guitarist Melvin Sparks and drummer Tommy Derrick. Highlights of the album include Wilson’s dynamic originals ‘Bus Ride’, ‘Orange Peel’ and the title track, plus great covers of Eddie Floyd’s ‘Knock On Wood’ and Edwin Starr’s ‘Twenty-Five Miles’. Wilson recorded two subsequent Blue Note albums: Set Us Free and A Groovy Situation.
Esteemed soul man of Panama Mr. Ralph Weeks has in recent years been enjoying a much overdue retrospective of his remarkable six decades-long musical journey with the help of Names You Can Trust. Now onto their fifth record release together since 2019, the label has covered both Weeks' original holy grail material as well as re-cuts and reimagining of some of his rarefied and unreleased songs.
One of Mr. Weeks' two iconic 45 releases on Panamanian label Sally Ruth was a funky soul side called "Let Me Do My Thing," originally recorded in 1971 as Weeks' answer to Charles Wright's big tune "Express Yourself," which had just hit the airwaves in 1970. Weeks' musical response would help define his legacy. He was gonna express himself, he was gonna Do His Thing. This golden age ultimatum recorded with the Dynamic Exciters of Panama as the backing band was a simple, straight ahead number with a defining message that would be carried on throughout Weeks' independent career. The funkified air and creative freedom of the original tune is a prime example of the crossover Combos Nationales sound that flourished in the prolific Panama recording industry of the era, and in the ensuing decades Weeks' tune would live on as a cherished rare groove for souleros, funk fans, and bootleggers alike.
Fast forward to 2023, when Ralph Weeks and Names You Can Trust prepared for a Bay Area appearance at the wonderful Latinos Con Soul weekender put on by San Francisco's Discodelic record shop, the groundwork was laid in the studio for a revival, a reawakening of Weeks' funky fan favorite. A spectacular ensemble of NYCT's All-Star artists and alumni was convened in the studio, including Caito Sánchez on drums, Victor Axelrod (Daptone Records) on clavinet and Sam Day Harmet (La Banda Chuska) on guitar. Anant Pradhan (The Skatalites), Eric Biondo (The Budos Band) and Alex Asher (Los Cumpleaños) occupied the brass section, and Ralph Weeks even lent his still formidable chops on electric bass and keyboards, a little OG flare to back up his silky voice with a deft musical touch. What came out of the sessions was a chance for NYCT to pay homage to Weeks' iconic original, without replacing it, and build a brand new version from the ground up with the maestro and composer himself!
Als Pionier der elektronischen Musik, vereint The Bloody Beetroots seit 2005 Elemente aus Electro, Punkrock und Dance zu einem unverwechselbaren, genre-übergreifenden Sound. Hinter dem Projekt steht der italienische Musiker und Produzent Sir Bob Cornelius Rifo, der mit Tracks wie „Warp 1.9“ (feat. Steve Aoki) und Alben wie Romborama, Hide und The Great Electronic Swindle internationale Bekanntheit erlangte. Jetzt kehrt „The Baddest Man in Electronic Music“ mit seiner neuen EP “FOREVER PART ONE” zurück. „Dieses Projekt ist mein Leben“, sagt Rifo. Und das spürt man in jedem einzelnen Beat. Keine Grenzen, keine Kompromisse. Stattdessen persönliche Geschichten, Gedanken und Momente, die The Bloody Beetroots über Jahre hinweg geprägt und geformt haben. „Dieses Release ist sowohl ein Danke als auch ein Statement. Denn in einer Welt, die Anpassung belohnt, glaube ich immer noch daran, dass wahre Rebellion darin besteht, sich selbst treu zu bleiben.“ - Sir Bob Cornelius Rifo Das ist The Bloody Beetroots. FOREVER.
FOREVER PART ONE erscheint als Digipak CD und auf limitiertem Grey Marble Vinyl.ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.




















