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The Jazz Diaries is proud to announce NYC’s favorite underground papi Toribio will be releasing his sophomore EP June 14th 2019. Hot of-the-heels of his Gator Boots 12” for Soul Clap, which received hands in the air support from Seth Troxler, Adam Port, and Soul Clap, Toribio makes you feel at home in the club with his expressive new EP - Capicua!

Growing up playing Dominican percussion instruments from an early age, and being a staple DJ in the NYC circuit for the last 7+ years playing with a who’s who of DJs (Danny Krivit, Rick Wilhite, Louie Vega etc), Toribio expands the palette of what dance music is, fusing his Dominican roots, afro-cuban latin riddims and 90s hip-hop to create a cultural melting pot that signals a change in the guard for NYC House Music.

As Toribio rightly puts…
“Capicua!” is an expression Dominicans yell as they slam the last domino of a certain hand with belligerent righteousness. It means you win on both sides of the table no matter which way you look at it. Top to bottom. This my musical way of saying in a Dominican style... I won on both sides with this record.

This is certainly true of EP opener ‘Get Up’, which hits you on the upside with a nasty dose of p-funk over a bed of live and programmed house riddims. The record showcases Toribio’s penchant for the funky, yet rhythmically inquisitive. It is this trademark sound that permeates the record and continues its way through the acid tinged ‘Make Your Mark’, where long time friend and collaborator Byron the Aquarius steps in on remix duties - providing a lush reprise from the frenetic afro-cuban percussion found in the original mix.

Last but not least, Toribio rounds of the EP with a sensual, take your girl home cover of ‘Household’ by Totally Enormous Extinct Dinosaurs. The tune showcases the broad depth of Toribio’s musical portrait, prominently featuring his voice and guitar, further giving credence to the musicality and diasporic nature of the new Nu York, and further cementing Toribio’s place in it for years to come.

U Know Me Records proudly presents a special album showcasing Polish drumming scene - each track was produced by a different drummer - these are their portraits.

official video promo: https://youtu.be/qxuTYjMRUMM

In the 21st century drummers imperceptibly switched from the background to the front line, despite popular music not exactly pandering to them. In the early days of rock culture this joke made the rounds "What's the last thing a drummer says in a band?" "Perhaps we could play one of my songs…?"
In popular music the drummer became the first to compete with machines. They were the first band members that consequently began disappearing, however, as contemporary electronic music took hold, they were also the first to return. First they were incorporated into compositions but gradually - took centre stage. Thanks partly to the ubiquitous culture of Hip Hop recognising the drummer's role as key in any recording, alongside the eclecticism of new music, which demanded fluid transitions between musical forms, a drummer's adaptive skills – as a trained multi instrumentalist – became truly impressive. This new generation of drummers seen on Polish stages today are exceptional even against the backdrop of today's unusually creative and well-educated music scene which rejects narrow minded or genre-centric views.

This album exhibits portraits from the cream of today's Polish drummers. Kovalevo Tone Bank by Michał Bryndal tags the 1980's, the era which began stealing drummers' bread. Incidentally, the heavy groove laid down by the artist references a hit by Wham!, the same hit in which the group decided to cut the drummer's part because he was late and replace him with a LinnDrumm machine. Hubert Zemler in The Life and Death of Ben Bekele and Łukasz Moskal in Father Sparrow show they've found themselves perfectly in close cooperation with electronic instruments.
Multifaceted improvisors - Qba Janicki (Kabina projekcyjna) and Jan Młynarski (Roj) - transform their drums kits into multifunctional devices capable of delivering wildly diverse palettes of sound. Rafał Dutkiewicz (Displaced) showcases drums as the lead instrument on a club track. Marcin Rak (Alpaka) does the same, but with the conventions of Funk and Hip Hop, whereas Krzysztof Dziedzic (Vagabonde) gravitates towards the edges of jazz. Each of them here is a leader and… plays one of their songs.

Bartek Chaciński
(translation: Sean Palmer)

Introducing a new label and musical direction for Lee Renacre from 100Hz with, PUSHER. His aim is to push the boundaries of electronic music by using different time signatures and poly rhythmic patterns, and by not using 4/4 patterns and the standard hat clap beats it’s possible to create a different style of mood and dancing which is deep loose and skippy. Pusher has a bold new Techno sound and also a gentle side with tracks of deep emotive strings and melody’s.

This Series of tracks is called Drug Music, a stripped down funky style with unusual beat patterns and poly rhythmic elements best enjoyed and fully understood when in an euphoric state, always recorded from a live studio jam where Lee’s improvised sounds come to life with some unexpected results. Lee also collaborates with artist and good friends for some extra depth and to mix up this unique style of electronica.

The first of the Pusher EP’s is a thumping minimal and full on affair with infectious killer acid riffs in odd time signatures. Crisp funky modulating hats monster bass lines and dramatic interplanetary sounds with live tweaks, twists and turns. Also some seriously deep and intense music is coming from this live jam situation with a thrilling string track to round off the Pusher experience.

Chen Yi aims for a collective approach of art. As an isolated group of humans/numbers operating directly from a secret place in Chelmsford (UK), they developped a personnal and “bizarre” utilisation of guitars, machines, voices, distortion, giving as result an unconventional regroupment of compositions amongst a lot of lost/unreleased recordings. This is likely what got John Peel interested which leads to an inexplicable CBS contract. More couldn’t be finalised, because CBS suddenly pulled out of the contract. “Due to their raw and alternative ’self-made’ musical approach, they’ve been compared to the likes of Throbbing Gristle, Borghesia & Severed Heads or more underground names as Het Zweet, Biting Tongues…

Berlin’s Answer Code Request and Marcel Fengler remix two cuts from AVION’s ‘Untrod’ album on his Crossing Imprint.

Established in 2013, Crossing has become a home for the majority of VAION’s releases including his debut album that picked up support from the likes of Darko Esser, Cosmin Trg, Anastasia Kristensen, Steve Bicknell and many more.

For this compelling remix package, AVION invites Answer Code Request and Marcel Fengler two legendary Berghain residents known for releasing on Ostgut Ton and their own eponymous imprints, who together have been honing a musical hybrid that stands apart from some of the more uniform forms of techno.

Answer Code Request’s ‘Evasion’ kicks off proceedings with an ethereal ambience balancing a tough syncopated drum sequence, resonant pads and atmospheric synth keys floating underneath. On the flip, Marcel Fengler’s remix of ‘Streetlights’ rounds off proceedings with menacing breaks-tinged percussion,

murmuring oscillations graciously fused with Emika’s delicate vocals and resilient modulations throughout.

Bristol stalwarts October & Borai join forces once again for their second outing on Happy Skull. The pair join the dots between sleazy EBM and rugged, hardcore atmospherics.

Lead track 'Fatal Rumba' is a titanium plated slab of latin funk for freakier, late night dance floors. On the B-Side 'Swipe Left' drops the tempo but turns the pressure up to boiling point, a chugging drum machine workout complete with pulsating 303's and dub techno chords. To round things off, Conch bosses Bash & T give 'Swipe Left' the full UK treatment, flipping it to a mutant funky roller.

LA’s Cromie joins Detroit imprint Clave House to release four mesmerizing cuts entitled ‘Root Bulb’.

A familiar face in the Los Angeles house scene, Nikola Hlady aka Cromie has established himself through his talents and graft in the studio showcasing his distinctive deep house rhythms, clever chord progressions and focus on charismatic sound design. His previous releases on Material Image, Amadeus Records and These Things Take Time join hypnotically driven atmospheres with captivating rhythms creating forward- thinking yet classically-minded sonics. His ‘Root Bulb’ EP sees the LA producer join the Clave House family accompanying artists such as Ali Berger, Pascäal, 外神 deepspace, Appian, Gerald Norton, Segv and Berndt.

Cromie's ‘Root Bulb’ EP picks up where his 2018 releases left off, taking inspiration from the Southern California landscape that surrounds him, with its juxtaposition of endless expanses of concrete amidst its staggeringly diverse flora and famous sunshine.
‘Root Bulb’ kicks things off with absorbing pads layered over rough and raw percussion with angelic textures in the distance before ‘Lilac’ delivers breaks-tinged drums, a catchy, buried sample, infectious synth notes and warming melodies inviting the listener’s focus.

‘Aristocrat Motel’ maintains the enrapturing ambience by fusing pulsating bass shoots, alleviating tones and charming, earworm keys offering a club-focussed yet introspective track until ‘Root Bulb (Grove Mix)’ rounds off proceedings with downtempo broken-beat grooves, tantalising vibrations and undulating, cosmic elements.

Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A comprehensive collection of descriptive contemporary scores. We say: Just look at the track titles of The Road Forward and swoon: Strangelands, A Man Alone, Sheer Elegance, Mystique Voyage, Cruising. Don’t you just want to hear those? The maestro Alan Hawkshaw really spoils us on this, one of the most sought after KPM greensleeves. This collection from 1977 is a brilliantly varied blend of silky smooth synths, funk-fuelled clavichord grooves and soft focus space beats. Essential. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Multi-instrumentalist/producer extraordinaire - Flevans has been on fire the last few months. With more plays across the BBC 6Music and Radio 2 than you can count on all your limbs combined, his recent singles have proved to be a huge success on the air-waves.

Following up this early enthusiasm with the stellar LP 'Part Time Millionaire' in March, the album was received very warmly by critics and fans alike.

With source material this good it was time to have some fun and at the end of March we released the undeniably brilliant Art of Tones Remix of Who's Got Me – featuring the brilliant Laura Vane on vocals. Deep delicious disco. That's how we'd describe it but don't take our word for it, listen to Todd Edwards, Bill Brewster, Kraak & Smaak, Hector Romero and Francois Kevorkian – all of whom are supporting it. Or listen to Diplo, Mistajam, Annie Nightingale, and Gilles Peterson who have all supported his past releases on the wireless..

Well good as that was, the fun doesn't stop there as the next instalment of remix magic has disco man of the moment Ray Mang giving the special treatment to It Just Goes (feat. Sarah Scott). He's always been a legend but his re-work of the phenomenal handclap band was THE remix of 2018 for the disco cognoscenti and he has turned in some of his very best work here.

Yes - we like to listen to music online and have the convenience of an endless collection always available but for the masochists who like to break their backs lugging heavy boxes of vinyl round to gigs – don't worry – we got your back (broke) by putting both of these killer remixes on one extremely desirable 12"





[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

After a short hiatus Phonica Records revives its deep-house focused Karakul imprint for Harry Wolfman's new 12" 'The Ritual'!

Having produced a dozen 12's for labels such as Dirt Crew, Omena and Outplay, Harry has been honing his craft for the best part of a decade and you can hear how his sound has refined over the past few releases, reaching new heights with this latest record for Karakul.
'SMBC' kicks the 12" off in a laid-back style with its woodwind and brass samples complimenting bright pads and drums, reminiscent of MCDE, while the mellow and sultry 'Eva' is up next.

On the flip 'Obi 1' takes things up a notch both in tempo and energy, working around a lo-fi drum loop and cunningly filtered bassline.
Strings come to the fore halfway through making this a real uplifting gem, the mixture of instrumentation bringing to mind early Pepe Bradock.
Finally 'The Ritual' rounds out the record in a mesmerising way, slowly introducing more and more elements and stirring the pot before fading out again.
An original and fitting way to end the record.

We swallow asphalt, we travel open heart, we run closed eyes. An hypnotic rhythm, some textured notes from Arp Odyssey, and a guitar that capsizes. Ashinoa. Ashinoa. Ashinoa.A last cigarette. We hang on the wheel. And we surrender on the highway of lights and vertigo, again »Ashinoa is a krautrock dementia that fans of the genre will recognize. An artistic atavism in the footsteps of the post-Stockhausen generation, a kind of round table of geniuses Klaus Dinger (Kraftwerk, Neu!), Edgar Froese (Tangerine Dream), Schulze (Ash Ra Tempel)... but also a kosmische musik of modern times, with a touch of electronic influences in the most experimental way.Part of the collective Misère Records from Lyon, which also includes the bands Abschaum (who released its first album in late 2017 on Macadam Mambo) and Pratos, Ashinoa started at the end of 2015 and occupes a special place in the Lyon alternative scene. So it's a real pleasure to welcome on board a band with such qualities from Macadam Mambo's hometown. Don't miss the trip !

oe Budden is one of the mainstays of rap. Originally hailing from New Jersey, Budden entered the game after heating up the streets via mixtapes that made the rounds, and eventually caught the attention of Def Jam recordings. After a successful stint there, and a Grammy Award for “Best Male Rap solo Performance” for “Pump It Up”, Budden parted ways and soon after formed the supergroup, “Slaughterhouse” alongside Royce Da 5’9”,Joell Ortiz, Crooked I, which were signed to Eminem’s, Shady Records. After a slew of releases and starring 2 successful shows on VH1; “Love & Hip-Hop: New York”, and “Couples Therapy”, Joe Budden’s brand has never been bigger. Throughout the summer he dominated headlines and timelines via an open and running dialogue with Drake, a dialogue that has resulted in millions of Soundcloud and Youtube streams. With momentum at its peak, Joe Budden returns with his highly anticipated new solo album Rage & The Machine.

Rage and the Machine, is produced entirely by super producer, AraabMuzik and features the likes of Tory Lanez, Fabulous, Joell Ortiz, and more. The music, as Joe describes it is for listeners who still appreciate lyricism with an updated twist. Backed by AraabMuzik’s sonic landscape, the album delves into Joe’s life, thoughts, and perspectives. Budden, never one to shy away from the spotlight announced the album via Complex by jumping out of a plane.

Infuse welcomes Pierre Codarin with an excellent three track release, ‘Pork Chop Express’, featuring a great KOKO remix to boot!

Pierre has been bubbling on the underground surface for few years now, releasing material on respected labels such as Adult Only, LAATE, Tervisio and his self-titled label was launched at the beginning of 2016 and has seen heady plays from the industries peers with each release granting praise from the media, DJ’s and collectors. Pierre brings a very raw and rich sound in both his productions and Performance with a very in-depth knowledge of record selection leaning towards a nostalgic U.S. and U.K. influence.

The title track ‘Pork Chop Express’ is a driving, rib-rattling, pad-infused, triumph of a track causing quite a stir on the floor. On the flip and ‘Lo Pan’ jacks the tempo and gets rough as Pierre drops a smorgasbord of key fills and stabs to keep this beast a grooving! Finally, following on from their brilliant ‘Generation K’ EP on Infuse early this year, KOKO deliver a blistering dance-floor led remix of ‘Pork Chop Express’, perfectly rounding off this great package.

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

sssIn January 2016 arts and music organisation Santuri East Africa invited guest producer Jan Schulte to join the Nile Project gathering in Aswan, Egypt - an intensive two week musical experiment featuring musicians drawn from all around the Nile Basin that functioned as both a creative cauldron for cross-border collaboration, and a forum for artists and cultural activists to discuss the issues affecting the Nile river.

Wolf Mu¨ller aka Jan Schulte has been a resident of Dusseldorf's era-defining Salon des Amateurs for many years, releasing wildly inventive and dance music under various monikers - from his birth name to Wolf Mu¨ller, Bufiman and his Young Wolf collaboration with Young Marco. Schulte's feel for off kilter sounds and rhythms and a playful approach to the sometimes po-faced world of dance music have resulted in some incredibly well received releases (Instrumental Musik Von Der Mitte Der World and the compilation Tropical Drums of Deutschland being prime examples).

Santuri East Africa is an organisation set up to connect musicians and producers from around the globe, a process of co-collaboration that has led to some highly well received releases on Soundway (Msafiri Zawose) Sofrito (Auntie Flo's Soniferous Garden) and On the Corner (Makadem and Mugwisa).

Clocking in at a shade over 15 minutes, A-side 'Mabomba Dance' gradually layers Kasiva Mutua's needle-sharp percussion over a deep analogue bass pulse, building into a hypnotic dancefloor workout.

The B-side sees erstwhile Owiny Sigoma Band collaborator Rapasa Nyatrapasa showcase his Nyatiti harp before delving into an almost Afrobeat-esque slice of afro-minimalism. The EP rounds off with Adel Mekha's stellar vocals over traditional Nubian percussion.

The collective Beste Modus Cinthie, Diego Krause, stevn.aint.leavn, Ed Herbst and Albert Vogt launched the label in 2012 as a platform for their own material, not long after came the realisation that many other artists around them were keen to be involved with the imprints burgeoning success and this led to the birth of Beste Fruende, a home for music from friends and affiliates of the label. Kevin Over’s ‘Butchers’ leads on the package with a swinging drum groove, emotive piano chords and a garage sub-tinged sub bass line alongside resonant synth licks and infectious vocals. Rindeau follows with ‘Wax On The Moon’, taking things deeper via twinkling Rhodes lines, dusty robust drums and modulating percussion. Cuartero’s ‘Floor Paca’ opens the flip side with choppy bass stabs, soft chord hits and a subtly nuanced rhythmic drive before ‘Slow Motion’ rounds out the package, employing classic deep house tropes with airy ethereal pads, vocal chops and shuffled, strippedback drums at its core.

Echocord sub-label Echo Echo returns with its first release of 2019 this May, coming courtesy of son.sine with his ‘Variable States’ EP. Leyton Glen aka son.sine is a relatively new name to most having only released a handlful of EP’s to date, initially in 2000 he released ‘Upekah’ via the Nurture imprint before Delsin recognized its timeless quality and re-issued it in 2013, a testament to Glen’s sole work. Here though we see Echo Echo mark a return for son.sine with a new EP of original material, his first in four years. The thirteen minute ‘Uncertainty’ opens, driven by hazy atmospherics, pulsing acid bass tones and murky sub bass while glitched out percussion subtly carries the cinematic groove. ‘Evident Topology’ follows, taking a more robust approach with jittery low-end chops, expansive dub chords and an amalgamation of emotive strings and jazzy bass licks ebbing and flowing within. ‘Three Linear Decay’ then rounds out the package via skippy organic drums, ethereal pad swells and metallic bleeps.

For the label to finally reach its 20th catalogue number is a seminal moment. To reach it with the original logo designer for Encrypted Audio and all round top gent is an even greater honour.

Mesck has a slew of releases on friends and family labels such as Chestplate & Crucial Recordings but with this release we wanted to create the feeling that no side was an A. Knowing Zach's style he did not let us down.

As we are referring to this release The Double Header..... 'Locust March' testament to the commanding way Mesck uses percussion and synth tones in a controlled fashion to create anticipation in the way they are used. In a track dominated and driven by a raw sub and mid punch combination that Mesck knows all so well. Joined by the equally amazing 'Fugazi'... There is no other way to describe this piece of art than EPIC.

Has there ever been a better time to fuck off to the stars? Is a prison breakout ‘escapism’? Crisis carve some wound-space to let the dreams back in. In nights we turn to fire, in flight we burst into stone, where are the exits in this theatre of the damned? Strict luggage allocations – guitar (D. Knight), saxophone (S. Thrower) – and all the electronics your thoughts can carry. Headspin echoes, round and around, tilt wind-sails at a dark horizon, cut a stutter through the distance barrier. In to be out through the structure of the eye, encrusted with rotor-slime, pushing on through border erosions as everything melts into smoke, burning objects may be closer than they appear. Nebulae dazzle the shadows, tunnel through memories and the pulp-mass of neurons, forwards heading backwards, end of tether snapped, slide into the earth like ancient worms and breathe.

UnicaZürn’s core instrumentation blends analogue synthesiser, mellotron and electric piano with electric guitar and saxophone. Knight is reknowned for his pioneering multi-textured fretwork with Danielle Dax and Shock-Headed Peters, and his ambient guitar settings for Lydia Lunch, while Thrower’s reed playing provided rage and melancholy in Coil and turns to electro-acoustic texture in Cyclobe.