quête:rebel funk

An incredible version of 7 Days Too Long on beautiful green vinyl, by New Zealand Soul Sensations Jamie and The Numbers. To make this even more special, the artwork has been inspired by Dexy’s Midnight Runner’s debut album “Searching for the Young Soul Rebels”, as well as the sleeve notes written by Kevin Archer. It also features the trombone skills of “Big” Jim Paterson!

“The original by Chuck Wood was released in the 60's. However, it was 1973 when I heard it for the first time whilst growing up in the Black Country. At the time, I was just 15 years old and having no siblings, I looked towards the older kids, who for me, were into the scene, especially Northern Soul. There were songs such as "Me & Baby Brother" by War, and the commercial "Skiing In The Snow" by The Invitations that grabbed my attention, plus I also liked the drummer Hamilton Bohannon.

The footwear of choice were Solatio shoes, which had leather soles that allowed shuffling on the dancefloor, as well as the great acts of acrobatics during the high points of these great tunes. Although girls attended these gatherings, it was unheard of to ask a girl to dance. It just wasn't the cool thing to do! All of this brings me to Dexys Midnight Runners. Mike Taylor, a friend of the band, suggested covering this song. Our sound was a little bit like Jamie & The Numbers, in what both bands set out to achieve with each of their respective sounds. This version has been inspired by Dexys - the intro, the breakdown, the guitar and organ driven vibe, all providing the perfect backdrop for the amazing talent of Jamie Musava. Her vocals are just brilliant and of course, Big Jimmy is there with them on trombone. Now for the caper...”

Created by the dynamic duo of DAVE MAZE and Grammy-nominated SPIKE REBEL, this album is a one-of-a-kind fusion of funk, disco, afro, and soul, all wrapped in the mesmerizing art of spoken word. “WORDS OF KNOWLEDGE” is a spoken word tribute album to the talented JERWAYNE BALENTINE, also known as J-EPIC. JERWAYNE, who authored the book "WORDS OF KNOWLEDGE," was a remarkable poet, author, producer, and illustrator. Tragically, he passed away in 2020 at the age of 23 due to Muscular dystrophy. All proceeds from the sales of this album will be directed towards funding music programming for young adults with developmental impairments and supporting Muscular dystrophy research.

Coke Bottle Green & Transparent Orange Vinyl. This soundtrack features 54 tracks from the game "Headbangers - Battle of the Dancers", the latest game mode in "Headbangers: Rhythm Royale". This exceptionally diverse album was entirely composed and performed by Charles Bardin and Valentin Ducloux, with additional vocals by Priscilla Cucciniello on several tracks. Get ready to ruffle your feathers to the rhythm of all these pigeon-themed songs! Composer Charles Bardin: "With Battle of the Dancers, we wanted to create the most varied soundtrack in the history of video games. This was our intention from the very beginning. The 54 tracks on this album draw their inspiration from a wide range of musical styles: rock, funk, electro, pop, folk, reggae, punk and many more. We conceived this soundtrack as a tribute to music in all its diversity, all combined with silly lyrics about our pigeon friends."

Innovative multi-instrumentalist and electronic luminary Mathew Jonson returns to Crosstown Rebels with ‘Tako Tako’.

The Canadian synth wizard returns to Damian Lazarus' renowned imprint with two magical and absorbing new productions, with the most excellent two-tracker.

Mathew Jonson has developed one of the most distinctive voices in electronic dance music. His take on house and techno is rich in synth craft and high on captivating emotions, all shaped by his notoriously extensive collection of analogue and hardware gear that he can play, manipulate and use like few others. An electronic mastermind renowned for releasing countless seminal tracks and albums, both solo and as a member of Cobblestone Jazz, he returns to a label that has been a constant throughout his career. With his ‘Tako Tako’ EP, he offers two more superb journeys on Crosstown Rebels.

The fantastic ‘Tako Tako’ kicks off with Jonson’s signature mix of elegant and refined synth craft, with dancing melodies bringing futuristic energy and neon colour to crunchy beats. They are smeared and smudged in a painterly fashion and help make this production a pulsating dancefloor thrill. Equally standout is ‘Just a Little Bit’, powered by a jostling broken beat with a warm bassline and wordless vocals sampled throughout. It’s funky, kinetic, always on the move, and rounds out another one of Jonson’s fantastically inventive yet effective EPs.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

Midi Mode Records, a new chapter begins for the label formerly known as Mini Man Records.
A home for the unmistakable energy of electro and techno grooves.

The decision to rebrand to Midi Mode as a name came after the previously known label title was unexpectedly caught up in a weird trademark dispute.
The label has adapted to survive and will provide tracks for true believers, made by true believers into the future.

As the label unveils its upcoming releases, it starts with the "Fake Reality EP", a 5 tracker with Electro & Techno Funk, housing a collaboration with Human Rebellion & Power.

Electro heads should already be very familiar with the unmistakable electro sonic sounds of Human Rebellion.
Furthermore to this, a fusion with the stripped back Detroit electro sounds of Power means the senses are pushed to move in dark rooms with the fierce Techno cut of "I'm a Freak".
All of this is combined with a haunting and unhinged remix from Nite Fleit that's mesmerising.

Docile Recordings is for itself. We are an expression of the beautiful moments that hold us frozen. Warm confusion that breathes life to the senses. The Docile sound captures a nostalgia for times yet to come. We are a familiar resonance always shifting for the correct approach. Always aiming for the heart and soul. Docile speaks to the basic instincts of the techno rebel; supplying sonic reasons to trudge on.

The “last of a kind e.p.” is the 32nd release from the Docile Recordings record label. The feel of this release ranges from a pragmatic spiritual funk to a loose heabangin’ frivolity. Docile 32 is 4/4 minimal held together by soulful synth and smart percussion advanced by ringing highs and detuned horns. Proper mathematics of programming moves a mix match of harmonies through a gauntlet of invisible edits gaining momentum until it is taken away. This is Docile music.

Rolling in from the roots of Chicago, Tina Howell lights it up with her dynamic vocals to revisit a couple of classics. The CFB - Chicago Funk Band is locked in and rolling.

Lead Vocals - Tina Howell
Backing Vocals - Tina Howell,Spike Rebel, and Rahaan
Keyboards - Spike Rebel
Lead Guitar - Spike Rebel
Bass / Guitar - Todd Swoope
Percussion/DJ - Ainsley Strong
Drums - Eric Johnson

Recorded & Mixed - Arnell Newman
Mastered at- The Exchange Mastering UK
Photography & Graphic Design - Ronnie Boykin Jr.
All songs arranged by- Rahaan Rah
Exclusively licensed by - Soulistic 360 LLC

Executive Producers: Arnell Newman / Ainsley Strong / Eric Johnson

Electro techno Killer !!

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossed-over to become dancefloor hits and are 100% guaranteed to rock any party!

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024. This album is fully remastered, relicensed and with new tracks exclusively for RSD 24. Wayne Smith's booming anthem "Sleng Teng", Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic "Bam Bam", Augustus Pablo, Lee Perry - it's all here as 300% Dynamite joins the dots between reggae, jazz, funk, dub and soul.

Sundub Society - featuring Josephine Nightingale, Ally Garrido, Tiago Saga, Naomi Falcon, Cutty Wren, Hedvig Larsson. The Bahama Soul Club are a German-based group whose unique blend of soul, jazz, funk, blues, bossa nova, afro and Caribbean influences has firmly put them on the map as one of the most exciting contemporary outfits of the black music scene. Inspired by the blissful energies of the sun drenched coast and the multicultural verve of tattooed wave riders, spiritual seekers, rainbow healers, mystic maidens and dreadlocked beauties, .... and of course the funky smell of sandy flip flops. Lush arrangements painted with sun-soaked brushes, captivating hangout vibes, shuffling bits of Reggae, woven threads of 70s roots, traditional rhythms and beats and sounds of the South Western Algarve. Sincere, artistic, full of spirit and definitely unique. No striving for the worldly charts. An album recorded mainly with the local legends. Stoned troubadoures, poetic pirates, authentic rebels. The songs were born from a vague idea after the release of "Bohemia After Dawn", the last album on which a few artist friends from the Algarve had already contributed. There is always a special magic in the neighborhood when sunny midday jams morph to sundown sessions to party-till-dawn skanks. We then just put those jams on tape. So, ten sundubby love songs to 'Oh, those sandy beaches'!

Repress!

Jurassic 5 flexed serious old-to-the-new muscles in the '90s, beginning with their independently released single Unified Rebelution' in 1994, and book-ending with their stellar debut full-length: 2000's Quality Control. They walked a tightrope between underground and mainstream hip-hop, and toured alongside rap peers as well as punk rockers on the Vans Warped Tour. With double the pleasure of your average hip-hop group - two DJs and producers (Cut Chemist and DJ Nu-Mark), and four MCs (Chali 2na, Akil, Marc 7 and Zaakir aka Soup) - they brought the late 1970s unison MC' style of pioneering groups like the Fantastic 5 and the Force MCs to a new generation. Even more surprisingly, they did so out of Los Angeles, whose hip-hop flavors generally leaned towards Gangsta, G-Funk or Electro lines. Musically inventive and lyrically forward-thinking, each song on Quality Control is a new adventure, exploring engaging territory, delivered via one of the best live hip-hop shows fans had seen in years. From singles like the strutting groove of the title track to the throwback doo-wop samples on The Influence' and the catchy, keyboard groove-driven World of Entertainment (WOE Is Me),' to deeper album tracks like the lyrical gymnastics of Jurass Finish First' and the thought-provoking Lausd,' Jurassic 5 consistently stepped to the plate and their fans responded in kind, nearly pushing the album to Gold status. Add the innovative DJ-and-sample workout which closes out the album, Swing Set,' and you have one of the 2000s' most unique and solid full-length platters.

Co-Accused Records kick off 2024 with some sonic grooves from French duo Human Rebellion. Their 'Kosmik Trip EP' has four spacey, electro cuts with wicked remixes from Sync 24 & Co-Accused.

Human Rebellion launch the EP with the title track 'Kosmik Trip' a mind-bending intergalactic destroyer. Sync 24s remix sees the trip take a dark turn with sinister vocals and hypnotic builds. Co-Accused take it into techno territory with a relentless, high energy take on the original. 'Censored Truth' opens the portal to the B side with free-radical synths intertwining with dark machine funk. The punchy drums in 'Hybridization' pull you towards a distress beacon, with face-hugging builds and chest bursting drops. Human Rebellion round off the release with the dystopian, driving sounds of 'Jupiterians'

Four dazzling, extended engagements with mbalax master-drumming.


The contribution from Holy Tongue is chase-the-devil steppers — thumping, clangorous, reverberating — super-charged with energy and atmosphere. From the off drummer Valentina Magaletti detonates a hard rain of small bombs, rounds of fire, ticking fuses. Musical co-ordinates are somewhere between classic On-U Sound crew like African Head Charge, The Mothmen, and Creation Rebel, and the experimental funk of the Pop Group and 23 Skidoo, at their funkiest. Thrillingly, the two dubs are increasingly deranged.

Adjusting the same wavelengths as her superb Workaround LP, Beatrice Dillon plays spaced-out, abstract synth-work against the bodily physicality of the ancient, shifting mbalax rhythms. The music is poised, mindful, tentative; but also limber, fleet, and magical.

Phantasmagorical and efflorescent, Lamin Fofana’s one-two is simply stunning. Both excursions are wide-open, beautiful, epic, and propulsive — the first mix is banging and headlong, the second more syncopated and serpentine — teeming with freshly sublime, funkdafied updates on Jon Hassell’s Fourth World possible musics.

The two parts of LABOUR’s Etu Keur Gui engage the same sequence of drum patterns (called bakks) from different perspectives. The duo performed portions of this piece at the opening ceremony of the Dakar Biennial in 2022, at the Grand National Theater, with thirty sabar players from the family of Doudou Ndiaye Rose. This Wolof phrase for the inner-court of a home — a meeting-place — doubles here as a metaphor for inner space on a metaphysical level; and Pan Sonic, Muslimgauze, Zoviet France, early Shackleton… all ghost across the threshold.

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

Teichmann + Söhne’s »Flows« is not so much the result of a collaborative process as it is a process in itself. Over the course of nine pieces, the Gebrüder Teichmann—Andi and Hannes—and their father Uli repeatedly find common ground between the very different musical styles, sound aesthetics, and subcultural codes they have internalised throughout their lives. The source material out of which the album evolved was culled from several recordings of rehearsal sessions in preparation for the trio’s concerts that took place between the years 2012 and 2022. The three added only a few overdubs to those recordings but edited them rigorously to both preserve and transform the spirit of their unlikely collaboration. The combination of Uli’s background as a versatile jazz artist and multi-instrumentalist with his sons’ penchant for dub techniques, modular synthesis, and live sampling as well as their interest in electronic dance music take on ever-different shapes. »Flows,« released on the occasion of Uli’s 80th birthday, is as joyful, lively and free-spirited as its makers.

It took the three musicians decades to get together to jam. Uli and Lu, the mother of Andi and Hannes, ran the legendary Jazzclub Kneiting between 1978 and 1983 while he also made a name for himself as a musician who, besides jazz, is knowledgeable in a plethora of music styles from all over the world and has an instrument collection to match. Naturally, Andi and Hannes rebelled against this versatility by opting for simplicity. Already as pre-teens, they formed a punk band and once they got a whiff of the burgeoning techno scene, strayed even further from their father’s path. They eventually moved from their native Regensburg to Berlin where they made a name for themselves with a slew of releases on seminal labels like Disko B or Kompakt before starting to more regularly collaborate with musicians from the realms of Contemporary Music, Improv, and Sound Art. Even after Uli had finally contributed some saxophone licks to the brother’s 2011 »They Made Us Do It« LP, it indeed needed someone else to make them do it, i.e. finally get together to reconcile their musical differences in a creative way.

Finding out that the three had never performed together, Yoichi Osaki from Berlin’s iconic Miss Hecker venue, a focal point of the city’s so-called Echtzeitmusik (real-time music) and Improv scene, scheduled them to play their first concert on April 1, 2012. Even though the date was chosen deliberately, things got serious very quickly and this first joint concert proved to be the first of many. It also laid the foundation for »Flows« since the three would start recording their rehearsals. Revisiting the roughly 90 recordings, some of which clock in at a full hour, after ten years of playing with each other then started what Hannes describes as a »form-finding process.« It was a holistic one and involved all three of them, extending also to their choice of cover artwork, a piece created by Lu, who died in 2016 and to whom the album is dedicated. For the collage, she had used photos of the place where it all began, Regensburg, and the river that flows through it, the Danube. This made the piece, coincidentally created around the time Teichmann + Söhne started playing their first concerts together, correlate perfectly with the working process of the three musicians on a visual level.

Similarly, Teichmann + Söhne can be thought of as a human-musical collage. It is a meeting of three different musicians who all have in common that they have occupied alternative spaces and perfected a variety of musical styles and subcultural codes throughout their lives. When those flow into each other, this necessarily creates something that is as unique as the nine tracks collected on this album. While it is mostly Uli who takes the lead on pieces like the appropriately titled »Im Zwischen« (»In the Inbetween«), the brothers respond by live sampling his playing, thus serving as a creative interface between acoustic sounds and electronic responses. This in turn provides a framework in which Uli can improvise on a variety of acoustic instruments like the saxophone and the clarinet as well as a mandolin and glockenspiel or even percussion. This indeed makes their music flow—across different generations, between different musical ideas and genres, into previously uncharted territory.

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst

Rising up from the dark depths of the underworld, Toni Moralez presents his latest project, Echoes From The Grave, via Mutual Pleasure Records.

A four-track serving of truly devilish sounds, Echoes From The Grave brings the listener deep into the world of Toni Moralez; a world of high-flying dance floor deviousness. Within the EP, the Frankfurt based producer coordinates a masterful balance between sinister and groovy, with daring blends of funk-infused basslines, pulsating drum patterns and synths, resulting in an unmistakably mischievous sound.

From the infectiously old-skool nature of DON’T B SHY (TURN AROUND), to the equally infectious hypnosis of I WANNA SUCK UR DICK (LONG N HARD), to the bassline mastery of TAKE OFF UR CLOTHES, which is then propelled into total misbehaviour with (Partiboi69’s Cheek Spreading Rework), which features a contagiously brazen verse from YBM.

Exceeding and succeeding in utmost rebellion, Toni Moralez’s Echoes From The Grave EP is a uniquely daring project, full of devilish personality and character, and one that sees its creator reach newfound heights with his sound; a sound that continues to evolve and develop rapidly.

Bristol meets Brooklyn! Produzent Claude Cooper und der New Yorker Sänger Brain Fog liefern gemeinsam eine inspirierte Bonusrunde zu Coopers viel beachtetem, unbändigem Debüt 'Myriad Sounds' (2022) ab. Das Duo hat die Originalinstrumentals zu einem rauen transatlantischen Amoklauf mit punkig-psychedelischen Jazz-Breaks gemacht, die mit allem kollidieren, was New Yorks reiches musikalisches Erbe zu bieten hat.

- 'There's no doubt that this psych-funk/jazz/seventies-soundtrack/hip-hop album absolutely scorches. It's vital and vibrant and exactly what we need to kick start the year.' - Louder Than War**** Album of the Week
- 'Raucous rhymes and blistering jazz breaks make for one rebellious reworking.' Backseat Mafia 8.8
- 'Bristol's beat scene backdrops late night jams.' - MOJO****