quête:sam jam

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

On His Second Full-length 'degenerate', Turkish Producer, Artist And Designer Berk Çakmakçi Uses A Plethora Of Found And Recorded Sound To Create Shape-shifting Compositions Where Noise, Drone And Post-club Sounds Are Filtered Through Industrial Textures. 'degenerate's Brooding Sound Design And Disregard For Textural Uniformity —lo-fi Soundbites From Youtube Vids Merge With Sharp Blasts Of Digital Noise On Short But Intense 'spit'— Is Informed By The Trans-international Chaos Of The Political Zeitgeist. The Closer 'nothing To Break' Searches For A Throughline In The Current Wave Of Destruction And Death, And Plays Out Like Several Movie Trailers Going Simultaneously. Often Making Sharp Turns Within A Single Song, 'degenerate' Is Ostensibly Aggressive And Fragmented. At The Same Time, It Reconfigures The Residue Left By Contemporary Paranoias And Obsessions.

The Album Is Mixed By Ahmet Türk And Berk Çakmakçi, Mastered By Beau Thomas And Features Art By Bora Akincitürk And Type Design By Amir Jamshidi.

* Dom & Roland Productions, the label, has gone from strength to strength since its conception in 2006.
It Features Dom's new solo work and his collaborations with other visionary artists such as Noisia, Hive and Amon
Tobin. The label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* BEACH BUM - DOM & ROLAND

There's someone on the beach playing a catchy picked out guitar riff. The waves are lapping. A surfer walks along the beach carrying their surfboard, their hair is blowing in the wind. They are thinking about how powerful and awesome the ocean is in it's contrast to the serene and quiet sunset beach, They like the guitar a lot!

* DRED SOUND - DOM & ROLAND

Big Sound! In a large warehouse in Kingston Jamaica, a kid turns up with his laptop and a keyboard full of playable samples. The kid's twisted some funk era breakbeats into gigantic proportions and is trying out song structure ideas whilst listening back on the the huge sub bass system. There are a lot of people sitting around, everyone stops to listen, they never heard anything like this. It's raw, and powerful, and they like it!

Napolitan Techno DJ and heavyweight producer Davide Carbone releases on the French Rave Or Die Records for the very first time! Multiplying records and collaborations just like Mike Tyson was multiplying uppercuts, the co-owner of Repitch Recordings, Cosmo Rhythmatic and 3TH Records and owner of Carbone Records starts with "Dive Or Die" on the A-side: a speedy yet straight to the dancefloor tune based upon trancey acid lines a la Steve Stoll or Leo Anibaldi and aerial melodies. Combined with dark effects, this nostalgic song Made in Italy appears as an authentic Rave anthem from back in the glorious days!

On the flip side, ROD mastermind and dancefloor veteran Umwelt (Voitax, Return To Disorder) delivers a shaking, hefty and tremendous cut. Named with suitability "Tremblements", the jam signs a fascinating ode to smoking warehouses and illegal parties. Metallic pads over no mercy beats fused into industrialized synths and screaming atmospheres characterize this this dark as hell cut interspersed with counter breaks a la The Mover.

Dark, groovy and noisy at the same, two massive absolute bangers with old school roots on ROD twelve release! By the way, if you wonder the significance of the signs on the Rave Or Die logo in the labels, they are taken from the Hobo Code and mean "Keep away, Cops Active, Unsafe Area". You'll be warned.

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Bobby Sparks II ist vielen ein Begriff. Sei es als Keyboarder bei Snarky Puppy, Marcus Miller, Prince oder Liz Wright, Bobby hat überall markante musikalische Spuren hinterlassen. Und nun ist es endlich soweit: Mit "Schizophrenia - The Yang Project" steht Bobby Sparks Debutalbum (2CD Set) zur Veröffentlichung bei LEOPARD an. Es hat gedauert, um diese außergewöhnliche Sammlung unterschiedlichster Songs zu produziern. Aber es hat sich mehr als gelohnt: zeigt sich darin doch das breite musikalische Vokabular und der schier unerschöpfliche Schaffensdrang des Keyboarders. Vom slammenden Funk bis zu langsamen, groovigen Soul-Balladen und Streifzügen in die Genres Straight-ahead-Jazz, Fusion, Orchester- und Weltmusik: das sehr passend betitelte Album "Schizophrenia - The Yang Project" vereinigt eine Vielzahl verschiedener Musikstile in sich, ohne dabei das Gesamtbild aus den Augen zu lassen. Mit an Bord auf dieser außergewöhnlichen musikalischen Reise sind eine Reihe seiner alten Freunde aus Dallas, sowie viele Stars des Genres - etwa die Bassisten Marcus Miller, Pino Palladino, MonoNeon und Hadrien Feraud, der Trompeter Roy Hargrove, die Sänger Frank McComb und James - J. Rob' Robinson, Snarky Puppys Michael League und Jason - JT' Thomas, die Gitarristen Lucky Peterson und Eric Gales sowie die Drummer Mark Simmons, Brannen Temple und John - Li'l John' Roberts.

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

It's safe to say that Detroit, a city steeped in economic, cultural and musical history, will soon weave its way into your soul should you spend any sustained time there. This rings all too true for Monty Luke. He has immersed himself in Detroit's scene since moving to the Motor City in 2008. His new eight track LP, released via Dogmatik, showcases the style of a new generation of Detroit producers carrying the beacon for a deep, Detroit sound that blends analogue weight and punchy drum programming together with masterful synth work and raw emotion.
Even at first glance the polarised artwork, an aerial map of Detroit, shows the more introspective nature of this Motor City ingrained release, with Luke purposefully steering away from writing club ready material. Introductory track 'City Lights' gives a first taste of this, combining swelling synths, dreamlike arps and crisp percussive hits. There's a real weight to the bass synth that compliments Abi B's soulful vocals all too well. 'Anton's Room' & 'Crime Wave' follow suit -the former with itslayered gritty bass, expansive stabs, glitchy bleeps and undulating arps and the latter creating a sonic swell between your ears manifested by a surging, panned arp, alongside sirens and punchy, gunshot like snares. Inspirations from Moodymann to Theo Parrish are clear to be seen in tracks like 'Move', taking a range of jazzy loops and samples and chopping them into a low slung, bouncing MPC laden jam.Progressing into the 2nd half of the album there's a transition from deep, Detroit house into harder hitting, electro territory. 'Willie Maze' with its killer drum programming, reverberating Rhodes and dynamic bass and 'Roja', combining emotive late-night chords and melancholic synth melodies, really honeinon that pensive, thought-provoking aesthetic. One of the highlights, 'Wasteland', is the best example of this transition -interlacing a commanding electro drum pattern with squelching, synth melodies and Serene Arena's introspective lyrics.
Then taking it full circle, closing track 'Block Is Hot (Black Hole Mix)' -co-produced by King Britt in Philadelphia (alongside City Lights, Crime Wave & Willie Maze), returns to the 4/4 path with a thumping party track, carrying through that raw nature emanating from the dark melodies and Monty's adlibbed vocals.
'Hard Work/ Not Hype' is a record flying the flag for those underground artists working tirelessly behind closed doors to produce material that's based on feeling, emotion and skill, rather than riding off the back of an inflated, socially constructed image. Monty Luke, as someone that follows that mantra, has been able toconstruct an album showcasing this, creating a real weight and depth to this release; it's raw, powerful and thought provoking, expertly capturing the soul of Detroit -the city that's had such a profound effect on him

DETROIT SWINDLE
Ouch that's HOT! Bring it on.
KRISTIAN RAEDLE/ INNERVISIONS
Yes please. Very nice.
AYBEE
Fanatastic Work Monty!!
ASHLEY BEEDLE
Thanks for sending over the Monty Luke album to listen too. It's a great
contemporary album with of course Detroit running through it's veins! It
really pulls you in and I think the arrangements and productions are great.
Fave tracks are City Lights, Roja, Willie Maze and Block Is Hot.
LAURENT GARNIER
Oh yes..This is so elegant and sexy. Love it Would love to play it
OSUNLADE
This one is a guilty pleasure vibe..hate that I love every song equally

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."

So Here We Go, Album Number Three By Till Von Sein. Attentive
Observers Of Tilly's Record History Might Notice, Something
Different Is Going On With This Cycle Of Tunes. Other Than The
Constitution Of His Previous Two Full Lengths, ocean' Tends To
Elaborate An Idea, A Pallet Of Sounds, An Overall Aesthetic, That
Come From Just One Place. Appropriate To The Release On Von
Sein's Own Label Imprint Tilly Jam, These Cuts Indeed Feel Like
Proper Jams. Deriving From A Certain Mindset, Building Up A
¢ow, Drifting Into Various Spheres, Delving Into Moods, And
Meanwhile, Forgetting About Time And Principles Of Structure,
Most Of His Previous Efforts Complied With. Surprisingly, No Vox
On Here. But Evidently, The Arrangements, Textures And Sonic
Nuances On ocean' Create A Narrative On Their Own. It Is An
Album That Puts Musicality Over Functionality. An Album To
Immerse Into, A Piece Of Music That Claims Attention And
Rewards With An Embracing Listening Pleasure. aloha', As The
Introducing Track, Sets The Tone Of Ever Reoccurring Leanings
Towards Balearic- And Mellowed Down House- And Funk
In¢uences. neptune' Directly Picks Up, Leading The ¢ow Of
Soothing Harmonies Into Slightly More Dancey Vibes. It's
Meeting The Relaxed Tempo Of cruise Control', Introducing Its
Catchy Synthbass And That Heart Melting Piano Hook. We Couldgo On, How The Funk Bass, The Spaced Out Break, The Tender
Chimes And The Harmonica Solo Of mission Muizenberg' Kind
Of Form The Centre Piece Of This Record, How junjung' Refers To
The Inciting Verve Of A Marching Band And At The Same Time
Grounds The Tune On Warm And Longing Melodies. How la
Boum' Is Bringing A Saturated Kickdrum Into Its Organic ¢ow,
How level 61' Merges G-funk Hints With A Neo-disco Attitude
Or How ocean' Lands This Record On A Dreamlike Loop. Yet, It
Wouldn't Paint The Picture Colourful And Bright Enough. Only
ocean' Itself Can Do. Album (release 22.02.19):

First Word Records are thrilled to announce a brand new addition to the label - LA beatmaker and producer 14KT.

Known for his deft, soulful hip hop production, KT has broadened his palate for his FW debut to create 'For My Sanity', the first offering from his jazz-influenced project IAMABEENIE.

The album will be released in early 2019, but we couldn't wait that long to share this taster of what 14KT created as a form of escaping from his "normal" ways of making music. Case in point: the first single taken from the project - 'The Power of Same' feat. Muhsinah.

Strongly rooted in KT's spiritual practice, 'The Power of Same' is a bass and synth-heavy ode to consistency and unconditional love, laced nicely together by his signature drum lines, harmonious guitar riffs (played on the track by Stro Elliot) and the unmistakable sound of James Poyser (The Roots). Vocal powerhouse Muhsinah adds layers of emotion via her endearing delivery of the core message, and, deep in the background you can hear KT sharing a very personal routine with us all - giving thanks to God.

How much of a personal project this is, in 14KT's words "This was inspired by a bible study plan I was reading called The Power of Same. It spoke about the power of being consistent in our lives. I thought about how consistently God's love and my family's love have gotten me through my journey of life. Once I made a "skeleton" of the song, I reached out to the brother James Poyser who I was extremely blessed to work with. My brother Stro Elliot was living right down the street from me at the time. One night he walked over to my house, I played the record for him, he picked up my electric guitar and played the first thing that came to mind - which was perfect. I played the record for my brother Tall Black Guy, who suggested I reach out to Muhsinah to add vocals. I sent the record to her and two days later she sent me exactly what you hear. Amazing. That was definitely the spirit of God working. Huge shout out to my Playlist family. Love y'all."

To date, 14KT has released seven solo albums, as well as his collaborative hip hop album, 'Takin' Ls' with emcee Ozay Moore, R&B/soul album, 'Saturn Return' with singer/songwriter AB, and 'The Big Knock', together with Mayer Hawthorne as Jaded Incorporated.

Last year saw another duo collaboration album with Michigan rapper Ro Spit, entitled 'RSXGLD', a project held in high regard by the global hip hop community.14KT is also part of Jazzy Jeff's Playlist Retreat, alongside our very own Eric Lau, Tall Black Guy and Kaidi Tatham, who also turns out an unmistakably dope remix on this 7" single.

A very warm welcome to the family, KT!

'The Power Of Same' is available on 7" and all digital platforms on March 1st 2019.

Rescued from a haze of drugs, alcohol and questionable women comes a potent blend of heavy Chicago Funk, Modern Soul & Psychedelia. Influential recordings from the group's sought-after Funk classics have been sampled by Beck, The Chemical Brothers, Jim Jones, Raekwon & Leaders of The New School.

Previously unreleased Rasputin's Stash from the forthcoming Stash album due out in April. 'Make Up Your Mind' is a contagious rhythm with Jimi Hendrix-style fuzzed out guitar riffs echoing sweet soul vocals and a brass section tight enough to please any Tower of Power fan. On the b-side is a slow-jam Soul-Steppers classic 'You Are My Everything'

Cut directly to vinyl from the recently found master tapes, this music presents material from the band at their artistic peak and the last recordings before Rasputin's Stash members went on to record Crystal Winds First Flight and Attitude, Belief & Determination

291out ensemble return on Fly By Night with another well orchestrated project by Riccio.

The latest release on FBNM, 291out - Habbanera is thematically inspired by the 1982 Italian film score, "No Grazie il Caffè Mi Rende Nervoso" "No Thanks, Coffee Makes Me Nervous".

It was originally composed by James Senese and directed by Lodovico Gasparini, "Habbanera" has only previously been released on Senese's self titled LP in 1983.

This four tracker includes two new versions of the main title theme "Habbanera" and two remixes by the two Italian pioneers of house music and the balearic sound; Leo Mas and Fabrice.

291out "Original Version" is a cover of the main score theme, which also features on Senese's 1983 LP; the "Alternate Version" is also taken from the movie, but from a different scene, which has the same melody of the opening theme but with a different rhythm, never having been released before and completely reassembled by 291out.

Leo Mas & Fabrice provide two different cuts, one pitched-down boogie slow jam and one 4/4 dance-floor banger.

291out are:

Luca 'Presence' Carini: Electric Bass

Tancredi Duccio 'Nagarrius' d'Alò: Electric Guitar / Mandoline

Floriano 'Maja' Bocchino: Electric Piano

Antonio 'Totem' Bocchino: Drums

Den Lacava: Saxophone

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.

David Marston is a producer, DJ, musician, and guitarist hailing from the vibrant Caribbean island of Jamaica. He takes a multifaceted approach to his music, and has worked to achieve a sound that is a fusion of multiple genres, including, but not limited to, house, hip-hop, disco, jazz, as well as reggae. During a six-month stint in Jamaica in 2016, Marston reconnected with a close friend and fellow musician, Craig Williamson, and the pair began writing music that would become the basis of Marston's first full length album. With the album set to be released in early 2019, Marston has endeavored to put together a special 12" to showcase the club-friendly side of his music with a selection of the album's dance cuts.

The A-side of the vinyl kicks off with the title track, "Feeling You", which features Williamson's crooning voice over a hypnotic instrumental characterized by a swirling arpeggiated synth, punchy bass hits, and stomping drums. To round off the A-side, Italian DJ and production duo, Lowheads, give the aforementioned track a fresh makeover with their lively classic house remix and dub version. The flip side of the record consists of two instrumental tracks. The first, "Ragamuffin", is a mesmerizing four to the floor tune constructed around an Indian raga sample. The final number, "On My Mind" is an off-kilter house groove with rolling keys, garage style drums, and a soaring lead. Taken together, the 12" album 'sampler' is a robust yet tantalising collection of club-ready tunes.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Nicewon kicks off 2019 with the 'Live on DuPont EP' from Christian James. Christian drops three new cuts, stamped with unmistakable mid-west vibes, fresh from flyover USA and pulls in a super-phat remix, from one of London's most exciting producer's- Cody Currie. Following up on his SummerSota EP, he stays true to his roots with driving drum-grooves, heavy use of samplers and drum machines, with some great synth work and pulls it all together by jamming it out- live. Cody Currie brings that floor-stompin attitude to this remix and cracks the WHIP with those beloved filter disco vibes, for all the heads. This EP kicks some serious Minneapolis warehouse flavor, to fit all corners of the dancefloor. We hope you enjoy NCWN04!

Produced in Minneapolis. Mastered by Rob Small Mastering ( Leeds, UK ). Artwork by Jeff Swiff.

James Place returns with his new LP "Still Waves To A Whisper" (the fourth release on Umor Rex). Flitting between the dreamworld of hauntological synth music and hypnotic techno functionality, Still Waves To Whisper showcases James Place's continuing development of dramatic (and varied) sound worlds.

Musically, Still Waves To A Whisper contains both some of the most immediately danceable and straight up beautiful tracks of James Place's career. Utilising voice samples from the same source as his last album, Voices Bloom, opener 'Known Cry' is a heavenly coda of sunlight bursting through clouds, warm synths drifting across restrained pulses. 'Timing and Lighting' went through countless live iterations before the current version was tracked for this album, a tunneling exploration of rhythm with a dose of sardonic humor. 'Move In Blue (Homeward Mix)' is James Places' rework of a track from 2017's Voices Bloom, obsessively remixed and revisited, here littered with additional melodies and populated by newly sampled voices. Closing track 'Names' is perhaps the most outright beautiful James Place recording to date. A stripped back rework of a live version of Living On Superstition's 'Another Mourning In America', the tune is based on a melodic line written after the studio recorded version. Interwoven with a sampled vocal, and rinsed of all of the original song, 'Names' is left behind a stark and compelling descendant. The digital release includes a remix of 'Move In Blue' by Persuasion aka Devon Hansen.

The title, Still Waves To A Whisper, stems from a conversation between Place and another artist on methods to ease anxieties and the benefits of a focused practice. The hope's for this music to continue that conversation on a larger scale.

All songs written, produced and recorded by Phil Tortoroli between 2015 — 2018 in Brooklyn, NY. Vocals by Sam Sally and an unknown guest.

Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos & Design by Daniel Castrejón.

Lowell Dunbar and Robert Shakespeare are the renowned Jamaican rhythm section that has worked with a range of international stars, including Bob Dylan, Mick Jagger, Joan Armatrading, Garland Jeffries and countless others. They first came to know each other in the early 1970s, when both were based in rival bands playing in clubs on Kingston's Red Hills Road and started working together at Channel One studio in the mid-1970s, when Sly was musical arranger for the Revolutionaries house band and Robbie the main bassist for Bunny Lee's Aggrovators. After a stint of international touring in Peter Tosh's Word, Sound and Power band, which exposed them to the tastes and markets of overseas audiences, the pair joined forces more concertedly with their Taxi label, producing hits with Gregory Isaacs, Dennis Brown, Sugar Minott and the Wailing Souls. At the same time, as the driving force behind the Compass Point All Stars, they brought Grace Jones to prominence worldwide and made Gwen Guthrie a star through reggaefied disco, and then brought Black Uhuru into the top spot in the wake of Bob Marley's passing. Then, when Jamaican music went digital with the 'Sleng Teng' craze of the mid-1980s, Sly and Robbie made the shift in that direction too, becoming among the most prominent producers as the 80s gave way to the 90s. Dubs For Tubs: A Tribute To King Tubby is a digital dub salute to the King issued shortly after his terrible murder; it is mostly comprised of synthesizer re-cuts of classic Jamaican rhythms, with 'Dub For Joy' being a tough re-working of the Heptones' 'Love Me Girl' and 'Dub To Make You Move And Groove' a take on their 'Party Time'; Dennis Brown's 'Here I Come' is here mutated to 'Dub For Roots People' and his 'Here I Come' anthem shifted into the spongy 'Dub For All Seasons.' An intriguing offshoot of 'Sleng Teng' is among the other highlights.

The OUER guys just live down the road from us in Berlin and we have been crossing paths many times these past years so it is with great joy we can finally present a full EP with their unique approach to electronic music on Dirt Crew Recordings. Since their debut on 'HEIST' in 2016 Xaver and Oliver have consistently pushed their sound and production, on their own OUER imprint they released four EP's up till now and the latest called 'E' is just a few weeks old as we speak. The A side opens with the title track 'Stingray Nebula', a bliss composition of layered arpeggios underlined by a deep sub bass, building steadily towards etheric strings setting in and descending again with a break beat ending that builds perfect grounds for the following dance floor stomper 'Undine'. That second A side track is a great mix of Deep House and Electronica and is what makes OUER's music so special, almost entering trance territories here but keeping those Chicago and Detroit references alive. When we head over to the B side we encounter some new tracks that really made us want to release this EP in the first place. The beautiful 'Thales' contains live bass and percussive instrumentation and is a crossover indie-tronica gem. Following that is the deep 'Inside' where an 'emo' piano themed House jam meets clever vocal sampling and filtered synth stabs to produce a great going groove. Closing out we have some real ambience electronica for you in 'Train Ride to Bratsk', again played mostly live and using acoustic instruments recorded in their Berlin studio the OUER guys are crossing borders again and turned out this piece of goodness. Enter the world of OUER, we hope you like it as much as we do!

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

James Baldwin was an unparalleled master of the written and spoken word. He was best known for his brilliant essays, plays and novels that shone light on his insights into race, sexuality, spirituality and humanity. Baldwin was an incredible orator who commanded the power of words. Whether on the pages of his books or in speeches and debates, he was passionate, compelling and powerful. This EP is the second half of a project that is a tribute to Baldwin. It features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.

Peabody & Sherman is a partnership between Phillip C Hertz and Curtis Ruptash - drummer and bass player respectively. They share common interests in dub, afrobeat, funk, jazz, ambient and improvisational music. They have long histories of the employing 'studio as instrument' approach to recording. The foundations for this EP was P&S rhythm tracks recorded at the Wayback Machine Studio in 2011. Supplemental instruments were layered on to create the final product. The same original sessions were also the source for their James Baldwin EP released in 2012. That EP featured remixes by Area and Afrikan Sciences.

The same concept is applied here, with remixes being contributed by Waajeed and BusCrates. Waajeed is a Detroit producer known for inventive and genre-defying music. He is background includes his work with Slum Village through to the Platinum Pied Pipers and to his work with his own Dirt Tech label today. BusCrates is a Pittsburg based producer known for his inventive use of electric and vintage synths to create deep layers of analog goodness.

The first part of various artists samplers featuring numerous gems from the Big Shot archives.

From the vaults of seminal Canadian house label Big Shot we're proud to present a fully legitimate and remastered selection of classics and obscurities from the labels enviable catalogue and the masterful crew of Nick Fiorucci, Komix & co. Leaning on the late 80's and early 90's output of the label and featuring cuts from some of the first releases. Amy Jackson, whose sultry 1989 jam 'Let Me Loose' is a class example of the deepest vocal House done right kicks off proceedings, followed by Jillian Mendez's classic 'Don't Know What You're Missing', another '89 vocal burner punctuated by classic piano's and synth lines. These tracks are the real deal! On the b-side we are treated to In-Dex's classic 'Give Me A Sign', a perfect blend of Freestyle attitude and early House atmosphere that hits the spot just right. Finishing this essential collection of tracks is Dionne's tough and classy 'Come Get My Lovin', another classic Komix production that rolls nice with stepping drum machines and smooth organ riffs. All in all - this EP is an old school House heads dream right here, essential cuts from end to end.

Keep an eye out for more high quality Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders. A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

Sometimes you produce a track with nothing but a dancefloor and a good sound system in mind. "Twelve Inch Jams" is offering you just that - strictly two A side tunes for the floor cut at 45 revolutions per minute. Jazz & Milk pays tribute to this classy release format with their new 12" vinyl series. Each record comes in a hand silk-screened printed and stamped sleeve!

The dreamteam of the highly successful first installment (JAMS001) teamed up again to share their love for raw and sample-based house music tunes produced on the MPC. Label artist Sam Irl and the man behind Jazz & Milk, Dusty never fail when it comes to layering colorful sample fragments and enriching them with raw beats and deep synthesizer chords.

"Broken Spell" starts off with a super moody atmosphere that slowly opens up until it reaches its energetic peak with bright synth stabs and a smooth bassline before colorful arpeggios are drifting the track into other spheres. "Love Prelude" has a rather dreamy vibe but its deep chord progressions and rough bass drums and claps create a truly unique contrast and a hypnotic atmosphere on top of it, while a later incoming bouncy bassline and dubby sample parts eventually pull you in cosmic dimensions!

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

CYRK, the Belgian-German duo of Sammy Goossens and Pascal Hetzel, is giving its debut release on Vakant with three fast-paced no-holds-barred electro jams topped off with a remix by French producer Voiski.

'Superior Things', the eponymous title track, kicks off the EP with driving funk and and acid lead synths, followed by 'Heatwave', another futuristic high-tech-funker. On the flip we have 'Chappers Said So', a sublime homage to classic Detroit electro and last but definitely not least Voiski's remix of the latter, an immersive and trance-inducing techno re-work for you to get lost in.

Artwork by SEO

New York residing DJ/Producers John Barera & Will Martin update their longstanding body of collaborative work with their first 2MR release since last year's exceptional 'Proceed To The Root' sophomore album... And it might just be their best work to date. Continuing the celestial theme of their last EP 'History Of Space'; the EP is the result of a whole new writing technique and heller time spent jamming on Will's Chroma Polaris synth. Comprising four tracks that simply ooze machine soul and loose-limbed groovemanship, 'Life, The Heavens & The Earth' is an ageless document that digs deep into the foundations while staring out into the cosmos. The tone is set by 'The Meaning'. Outer planetary electroid savoir faire; its crisp breaks are countered by the bulbous textured bassline throughout. It's followed by the title track 'Life, The Heavens & The Earth'; a spatial excursion built around a classic break and coloured with poignant arpeggiated cascades. Deeper into the EP we glide to strike warehouse gold on the venomous acid of 'In The Depths Of Madness', a layered analog jam that writhes and slinks dynamically in the spirit of Pierre, before closing with a track the duo feel is their most accomplished composition to date: 'Searching For Time'. Not just a title we can all relate to but a poignant emotional workout that touches your soul in the same way you first heard the instrumental of Information Society's 'Running'. Beautiful emotive electronica from a duo who keep getting better with every release. The journey to the root continues....

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.

It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.

Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.

And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.

The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.

The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.

Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.

London based Grime MC and Producer Jammz continues to build upon his I Am Grime Imprint, and once again caters to his instrumental fan base, with the instrumental release of Warrior 2 (on Vinyl only). Written and produced in 2017, this release stands to be the most well rounded body of work Jammz has released yet, and shows Jammz's growth and development as one of Grime's most promising mainstay producers. In recent years Jammz has managed established himself as a very sought after producer, with previous releases such as Keep it Simple & the world being underground favourites (of both fans and DJ's) which have managed to remain in rotation even today. Once a part of 2014's 'pirate radio renaissance', Jammz has also managed to infiltrate his way into the playlists of DJ's such as Sir Spyro & Logan Sama (amongst others) who always have a Jammz instrumental to hand. Yes - I Am Grime is the label, however Jammz takes this opportunity to explore the boundaries of Grime, playing with a range tempos and influences on this EP, with music ranging from 130BPM to 150BPM. Songs like 'Everything Dead' nod to Jammz's Jamaican and British influences, with minimal weighty baselines and vocal stabs, whilst songs like the 'Intro' and 'Interlude' see Jammz experiment with the idea of Grime without drums or percussion. B side tracks like "Set You Free' and 'Play That' nod back to an earlier era of Grime and Garage; with simplistic brass-backed riffs and vocal chops. Additional production credits come from the likes of Sebastian Sartor, Bristol favourites Joker and New York Transit Authority, USA's Collapsing Scenery and Jack Dat who also has his production hat on for the occasion. Over the last 3 Years Jammz has spent his time building his I Am Grime Imprint, which is fast building a reputation for releasing sought after releases. With a newly announced Rinse FM residency and a brand new line of merchandise - it's safe to say Jammz isn't going anywhere anytime soon.

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate

Der Hip Hop Klassiker Von 1998 Ist Zurück.
2018 Zum 20. Jubiläum Erscheint Das Album Komplett Überarbeitet, Neu Abgemischt Und Remastert Auf Dem Hauseigenen Label 58beats In Neuem Gewand.

Anstatt Nur Das Alte Master Für Ein Einfaches Reissue Zu Verwenden, Haben Sich Die Jungs Von Main Concept Dazu Entschlossen Zum 20ten Jubiläum Des Langspielers Die Files Der Platte Neu Aufzumachen Und Das Album In Ein Zeitgemäßes Licht Zu Setzten.

Glam Aka Glammerlicious, Produzent Von Main Concept, Hat Allen Beats Einen Neuen Anstrich Verliehen, Alle Alten Maschinen Mit Den Original Files Beladen Und Das Album Komplett Überarbeitet Und Neu Abgemischt.
Die Tracks Wurden Editiert, Komplettiert, Erweitert, Teilweise Leicht Verändert, Oder Auch Gekürzt, Ohne Dabei Den Charakter Der Platte Zu Verändern.

Ein Reissue, Dass Diesem Klassiker Angemessen Ist.

Der Sender Puls (bayrischer Rundfunk) Hat Das Album Zum 20 Jährigen Jubiläum Mit In Die Br Ruhmeshalle Aufgenommen.

Flo Kreier (puls) Schreibt Über Main Concept - genesis Exodus :

- Freshe Skillz, Groovige Beats Und Die Heilige Realness: Main Concepts Zweites Album Ist Ende Der Neunziger In Diesen Punkten Nicht Zu Überbieten. Vielleicht Beginnen Deshalb Viele Andere Rap-crews, Gezielt Die Charts Zu Stürmen. -

- Mitte Der Neunziger Ist Hiphop In Deutschland Eine Puristische Angelegenheit. Bekannte Crews Tuckern In Mini-bussen Durchs Land Und Spielen In Kleinen Clubs. Niemand Trägt Goldketten Oder Ohrringe. Stattdessen Sind Baggypants Und Baseballcaps Angesagt. Und Die Meisten Raps Drehen Sich Um Ein Thema: Die Realness. Damit Ist Gemeint, Hiphop Ernst Zu Nehmen Und Nicht Nur Kohle Zu Scheffeln. Außerdem Geht's Darum, Diesen Echten Hiphop Zu Zelebrieren. In Dieser Zeit Bringen Die Münchner Main Concept Ihr Zweites Album "genesis, Exodus, Main Concept" Raus, Das Vielleicht Realste Deutsche Hiphop-album Überhaupt.

- rapper David Pe Ist Der Unterhaltsamste Mc, Den Der Deutsche Hiphop Bis Dahin Gehört Hat. Er Ist Wortgewandt, Witzig Und Schafft Es Auf Charmante Art, Auch Wissenschaft Und Philosophie In Seine Texte Zu Verbasteln. Dabei Klingt Er Aber Nicht Oberlehrermäßig. Eher Als Würde In Seinem End-zwanziger-körper Der Geist Eines 70-jährigen Stecken. Wie Ein Till Eulenspiegel Des Rap Schafft Er Es, Mystik Und Komik Zu Verbinden. Der Gipfel: Er Zelebriert Immer Wieder Eine Mystische Zahl, Die 58. Mit Viel Fantasie Spinnt Er Absurde Geschichten Um Diese Geheimzahl - Die Am Ende Nur Die Nummer Seiner Buslinie Ist.

- groovige Beats Statt Poppige Hooks
Glammerlicious, Der Musikalische Chef Der Truppe, Schafft Einen Seltenen Spagat: Einerseits Grooven Main Concepts Tracks Wie Hölle - Zu Jedem Beat Beginnt Man Sofort Mit Dem Kopf Zu Nicken. Dazu Kommen Fette Samples, Die Eine Perfekte Stimmung Aufbauen, Aber Nie Poppig Werden: Abwechslungsreich, Verspielt Und Irgendwie Augenzwinkernd.
"genesis, Exodus, Main Concept" Spielt Nicht Umsonst Auf Die Bibel An. Vielleicht, Weil Sich Die Jungs Vom Münchner Goetheplatz Damit Über Die Hiphop-dogmatiker Amüsieren, Die Sich Selbst Zu Ernst Nehmen. Vielleicht Aber Auch, Weil Die Platte, Wie Eine Offenbarung, Alles Auf Den Punkt Bringt, Was Der Deutsche Hiphop Dieser Zeit So Heilig Ist: Die Realness. -

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

Limited Edition: 500 x 2 LP Gatefold Pressing. Bentley Rhythm Ace formed in Birmingham in 1996 when ex Pop Will Eat Itself bassist Richard March and DJ Michael Stokes discovered a shared love of obscure, oddball and eccentric tunes. Utilising lo-fi cut and paste sampling techniques combined with analogue synths and some wild turntable action their debut EP was picked up by Fatboy Slim's Brighton based Skint Records and released to widespread acclaim. The BRA live show added Fuzz Townshend on drums and James Atkin (ex EMF vocalist) on keyboards and the latter years of the 90s saw BRA firmly established as festival favourites with appearances at Glastonbury, Reading, V, T in the Park, Montreux Jazz and Fuji Rock amongst many others. Their irreverent approach mixed with big beats, thundering bass, wild synths and esoteric samples proved to be a hit with fans and critics alike. 1998 saw Bentley Rhythm Ace crowned 'Best Dance Act' in that year's NME awards. Their eponymous debut album was given a worldwide release after the Bentleys signed to Parlophone records and the band toured extensively in the UK, Europe, Japan, Australia and USA. As well as releasing a highly regarded DJ mix album on Ministry of Sound, and releasing a second album for Parlophone (featuring vocals from Black Grape/Ruthless Rap Assassins frontman Kermit), BRA also produced well received remixes for the Beastie Boys and Supergrass as well as soundtracking several TV shows and adverts. This "21st Birthday - Bonus Tracks Edition" of the album has been compiled by Richard March of the band and includes the original 11 track album along with 2 bonus tracks remastered and repressed to vinyl for the first time in almost two decades! Presented in a deluxe gatefold sleeve, complete with original artwork and comprehensive sleeve notes for all thirteen tracks written for this release by Richard March. Bentley Rhythm Ace (21st Birthday - Bonus Tracks Edition)

Fina's next release comes from Mathew Ferness, an exciting and already hotly tipped rising star for just his second ever EP. It features three tracks that showcase his musical house style with a remix from Helsinki's Saine.

Ferness hails from a small town near Montreal in Quebec, where he was an outcast obsessed with music. With no access to record shops, parties or scenes Mathew started taking matters into his own hands DJing in his teens taking inspiration from J Dilla, he soon began producing his own beats on a sampler and drum machine.

An exploration of analogue sounds, DAWS and most recently electronic music have all lead him to the rich sound he has now. His last EP on Beat changers was championed by Rhythm Section International and Radio 1 tastemaker Bradley Zero and this latest EP is likely to prove just as popular.

Pad laced opener 'Escapade' is a summery deep house jam with breezy acoustic guitar and warm, punchy drums of the sort to get any floor cutting loose. 'Solitude' is more paired back, with thoughtful piano keys laid over deep rolling drums. There is a musical romance and beauty to the synths that elevate this one above purely functional fodder, and then 'At First Sight' awakens your senses once more with broad synth smears and perfectly rough-edged drums which create pure deep house soul.

Saine is a producer with a range that goes from hazy hip hop to dusty house on labels like Odd Socks, Andy Hart's Voyage and this one before now. After his 2017 EP Mint, he returns with a remix that is bubbly and laden with colourful melodies and open-air house grooves.
This is EP full of rich house music that is for mind, body and soul.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

The name Hugo Mari might not ring a bell just yet, but we've got a feeling this is about to change real soon. He's released a handful of EP's under his former alias Books on Omena and XVI including his own edit series on the latter label (check out his killer track 'in the groove or his jazzy deep house collaboration with Zodiac called 'Feel it in my Bones'). Considering he's also remixed well known artists like afrobeat legend Dele Sosimi and grime master Trim, you might share our view of this amazingly talented and versatile producer. His 'Change ur ways' EP for Heist is soulful, jazzy, deep and energetic with three varied originals and a classic soulful house remix by man of the moment, NDATL label head Kai Alcé.

'Get Loose' features the silky-smooth vocals of Zodiac, some lovely solo work on the Rhodes and a 'free jazz' vibe on the horns. There's a constant funk bassline looping throughout the track to keep the energy going while the loose arrangement as well as the drum programming give the track that care-free feeling of a never-ending live jam. With that, 'Get Loose' is a great club track that crosses the boundaries between funk, jazz and house.

The title track still has that jazzy feeling but moves towards a quirkier territory with some 'Frits Wentink' style harmonization, detuned piano's and loosely chopped samples. There's a definite gospel feel to the track, thanks to the choice in vocal chops, which is complemented perfectly by a filtered disco bassline. The percussion layer and rhythmic elements are full of energy without ever crossing the line where of subtlety that makes this track so catchy.

On the flip, there's 'Feel ur senses', the most straightforward deep house track of the release, that gets its mood from an ongoing tremolo on the Rhodes pads. Space bleeps, bells, a hidden arp and 'reverbed-out' hits give the track an almost balaeric sound that will certainly put a smile on your face.

The B side is complemented with a vocal and instrumental remix of 'Get Loose' by Kai Alcé, who has been throwing out one killer tune after the other, remixing Volcov's Isoul8 project (one of our favorites of the year), as well as kicking out releases on his own NDATL label. Kai goes for a full-on soulful house vibe, giving his own chord progression center stage along with a set of rimshots. He chooses to leave the horns out, and instead work the vocal, Rhodes, and cowbells from the original to great effect, adding a little solo work of his own on a bell-like piano where he freestyles happily throughout the track and copies the vocal for added harmonies.
The instrumental version is perfect for those moments where you're done with all the vocals and just want a tight soulful groove.

We couldn't be happier with this release so play it loud and get loose!

Yours Sincerely,

Maarten & Lars

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.

Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.

So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.

Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.

Wolfgang Voigt Cologne, October 2018

Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.

Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.

Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.

So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.

Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.

POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.

Wolfgang Voigt / September 2018

Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12' for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock's imitable 'Chameleon' and 'Watermelon Man', loud and proud on either side of a 12' - remastered and cut by the engineer of the original Head Hunters LP from 1973.
They don't get much more iconic than 'Chameleon'. Nestled on the incredible 1973 'Head Hunters' album it's a 16-minute exploration of legendary jazz funk - having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you're likely to hear from Herbie, all tied together with Harvey Mason's mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.

On the B side, the equally intriguing 'Watermelon Man'. This version, again taken from the Head Hunters LP, differs from the Blue Note bop '62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock's jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it's a classic that's sampled time and time again for good reason.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie 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.

After a five year release hiatus, in 2018 Yura Khlop is putting out music under his SE62 alias again. "Jazzed EP" is the second release in the SAFT X series and the Kiev based producer has delivered a class record.

The A-side opening track; "Swing Tool" is built around more jazzed out samples than the other tracks. SE62 cleverly plays original notes together with a hazy sample that serves as the core element. "Jazzed EP" will be available through all specialized retailers in the autumn of 2018. On A2 we find "July". Again a very dance floor oriented record with taints of emotion. The very present chord and bassline dominate the tracks structure until at one point; a beautiful sample is introduced. Positive sounds for lovers of classic deep house.

The title track "Jazzed" is a signature piece of thumping deep house, using swinging MPC style drums and an evolving digital piano riff. This together with some submerged sounding sample shots, create a dance floor worthy ambiance. After "Jazzed", we find "Pitch Black", a sample-heavy jam that is based around a set of characteristic drums. A swinging chord and an infectious chord progression do the trick on this true dance floor record.

Manana presents a new remix EP bringing together some essential re-works of Sound Species and Ache Meyi's collaboration recordings.
Originally recorded in 2016 in Santiago de Cuba during the lead-up to the Manana Festival in the city, the original sessions were an inspired fusion of Ache Meyi's deep folkloric Afro-Cuban styles with Sound Species' subtle electronic touches. The new re-works have attracted some familiar names from clubland: broken beat don IG Culture keeps the roots of 'Ogún Meyi Meyi' intact with a bass-heavy, percussive attack; brilliant UK drummer and producer Tom Skinner strips back 'Egrem Bata Jam' on a pulsing new version; Chicago legend Ron Trent creates a more melodic dancefloor re-work of 'Alina's Calypso' while Sound Species themselves beef up the original Afro-Haitian rhythms of the same track for a dubbier treatment.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.

From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Following the recent 'Aset Forever EP' by label bosses Dusky, 17 Steps announces its next release in the form of the 'Off Peak EP' by innovative Russian duo Formally Unknown.

The three broken beat originals will be familiar to anyone who has seen label owners' Dusky DJ recently.

Lead track 'Off Peak' offsets a breakdown of deep, Detroit-nodding chords with thunderous bass, modular bleeps and broken percussion that will test the outer limits of any sound system.

On the remix, Warehouse Music's Mella Dee flips the original with 4x4 kicks, spacey pads and layered percussion that glides in and out seamlessly, providing the EP with a hazy, dubbed out techno gem.

Industrial broken beat jam 'Burnin' again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It's Made video.

Closing things off 'Arp Three' brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.

Our good Parisian friend Max Fader aka S3A is back on Local Talk with a diverse four track EP that delivers on all levels.
It all begins with 'Premiere Rexidence', disco infected big room track that comes with some heavy vocal and horn samples.
Next up is 'End Track For a DJ' which is exactly what the title suggest and comes with old school house beats, classic Chicago piano riffs and some lush strings. Massive!

On the b-side S3A goes back to what he is maybe most know for, 'Searching Force' is an uplifting disco-funk house jam with big samples and jacked up beats.
Last, and possibly our fave tune is 'Deep Mood Vol 4', a supa deep house cut with low end theory chords and a bassline to kill for...raww!
Oh, and those Michael Watford vocal samples just adds to the deepness.

The Storied Music Producer Readies His Sophomore Solo Album For Release, Ten Years After His First Album, The Gemini Principle. The Ten-year Gap Between Solo Albums Has Seen Dbridge Releasing Landmark Collaborations And Projects As Part Of The Autonomic Movement, Module Eight, Heart Drive And Exploring Other Bpms As Velvit.
Dbridge's Journey Within Electronic Music Has Seen Him At The Front And Center Of Electronic Music Culture And Then By Design, As The Seasons Change, He Has Retreated To His Own World To Work On His Next Statement.
A Love I Can't Explain Is The Sound Of Dbridge Making Music For Himself. As A Man He Finds Himself In A New Phase Of His Life- In Love, Married And A Father That Is No Longer Concerned With Previous Constraints And This Has Led To A New Freedom In Creation. An Artist Looking At The Same Sculpture But Now From A New Perspective.

Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that.

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.

'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.

Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.

Following a string of well-received EPs on Cin Cin, Exit Strategy and Get Physical, Belfast's LOR readies his debut, self-titled album 'Lunar Orbit Rendezvous'. This will mark the first release on his newly minted label LOREC. A technique used in Apollo lunar missions, 'Lunar Orbit Rendezvous' charts a journey to the moon and back. A bold album, both in concept and sound, it's the work of an artist coming into his own.The title track and first single 'Lunar Orbit Rendezvous' prepares the album for lift off. It's a track that carries the technical tension of crucial operations, with gnarly acid pulses and happily erratic synths sparring over a steadfast electro beat while vocal samples collapse into themselves. 'Lunar Orbit Rendezvous' comes accompanied by a video from Studio Crême, whose design and video work has been championed by the likes of James Holden, Warp and Simian Mobile Disco. Using a hyper detailed black and white render of a NASA grade rocket, the video brings the optical journey of 'Lunar Orbit Rendezvous' to life The 'Lunar Orbit Rendezvous'

From a golden period of Philly soul comes one of the most classic 'two step' and 'rare groove' releases from the PIR label's group The Futures. 'Ain't No Time Fa Something' (also released in error as 'Ain't Got Time Fa Nuthin'') remains a timeless spin for DJs, and became rare on 7' since the growth in popularity of the revived format. The track has also been sampled sevent times, first by Jamiroquai in 1994 in 'Morning Glory', and most recently Flamingos is in 'Cruise Control'. The flip of this 7' release 'Party Time Man' came from the same period and is both the group's biggest commercial hits and has become a significant revival itself over the last ten years, equally rare on original 7' single.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

DJ Support comes from Tensnake, Laurent Garnier, Tom Misch, Severino, Jazzanova, Felix da Housecat, TOCADISCO, Jacques Renault, Monki, Featurecast, Nick Catchdubs, Claude Von Stroke, Vanilla Ace, Kraak & Smaak, Dom Servini, DJ Gilla,

Finally a new sampler on Siena.! This time on 3.0 a broad range of sounds from Funk to Techno. The A-side starts with a smooth summer jam by Griffy Hildalgo. Perfect to start a roadtrip! Tetelepta & Gerressen teamed up to fill out the A2 with their raw sampling house joint.

For the techno heads among us, yes, the B sides delivered it. B1 start with Bas Amro with his emotional melodies and deep grooves. The closing track for this EP is by Ben Buitendijk, who delivered a true masterpiece 'Detroit Techno Lovers' don't miss it!

Italian sound artist GIULIO ALDINUCCI drops his 2nd album on Karl: "Disappearing In A Mirror" is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed "Borders And Ruins" which made it onto several year's best lists for 2017.

Over the course of four solo albums on labels like DRONARIVM plus EPs and collaborative albums (a.o. with IAN HAWGOOD), GIULIO ALDINUCCI successively has been refining his skills as composer and sound designer. His elegant style which blends ambient and field recordings came to full impact on his 2017 album "Borders And Ruins" which gained the Italian sound artist a lot of critical praise and made it onto several year's best lists, a.o. ALDINUCCI's latest effort is again not only a musical masterpiece ofsublime beauty and sacral majesty, it also deals with philosophical concerns. Where "Borders ..." was areflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turnsinto a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory, "Disappearing In A Mirror" raises the very personal question of identity. In the words of ALDINUCCI himself:

" 'Disappearing In A Mirror' focuses on the fluidity of the identity concept, highlighting the harmonious coexistence of contradictory elements and the transitional features that characterize every transformation. It is a reflection on the current situation of change and disruption and at the same time it is a gaze into the human timeless soul and its inner soundscapes."

Those of you who have followed Lucky Brown's tireless efforts since joining the Tramp family in 2007 can hear without a doubt the progress he and his various ensembles have made in almost every musical aspect. His songwriting skills amazed us right from the start of our relationship. What deserves much more respect is that during the past years he has proved to be probably one of the most authentic and steady but at the same time most innovative creative minds on the contemporary funk scene. Sure, many of today's funk bands are able to deliver a two-and-a-half minute funk killer, what distinguishes Lucky Brown, however, is his ability to create compositions which also employ the idiom as a means to deliver an artistic message, a hard-to describe feeling, or a conscious concept, just like James Brown and Fela Kuti mastered in the 1970s. Furthermore, Lucky has developed his own trademark production and sound whose depth and honesty form a basis from which his work will ever remain timeless.

But that's nothing new as you can hear on both of his first two albums for Tamp ("Lucky Brown's Space Dream, 2011 and "Mystery Road", 2015) On "Mesquite Suite" he is forging new paths by soaking up musical styles from all over the world to infuse with his own totally unique way of producing. Perfect examples are the Mulatu Astatke-ish tracks "Pauraque" and "Mother Corn Stalk" with its distinctive New Orleans Swamp-Jazz flavor. Fans of the Menahan Street Band or El Michels Affair may see in "Taterbug" and "Estrellas De La Tierra" their favourite tracks. But it's the entirety which makes this album standout.

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people.

Tobias Kirmayer, August 2018

key-selling points:
- limited to 500 hand-numbered copies
- incl. full album download code
- double vinyl LP with deluxe gatefold cover

Having Previously Released Some Rare Solo Material From Ende Shneafliet Member Hanjo Erkamp Aka Dr. C. Stein, Artificial Dance Is Now Serving Up Something Special From The Cult Dutch Minimal Wave Band's Lesser-known Side Project, King Ende Shneafliet. The Result Is The First Ever Vinyl Release Of Tracks From The Outfit's Cult Dimension Mix Series.
Adding king' To Their Name In Honour Of Original Dub Maestro King Tubby, King Ende Shneafliet Produced Far More Experimental And Out-there Material Than Their Better-known Big Brother. They Released Their First Cassette, Dimension Mix Chapter I In 1981 Via Cult Label Trumpett, With Batches Of Follow-up Material Trickling Out On Various Obscure Tapes And Later Cd-rs Up To The Year 2000.

Artificial Dance's First Dip Into The Dimension Mix Archives - A Second Vinyl Volume Will Follow Later In The Year - Features Selections From Chapter Ii (1999), Which Was Originally Recorded Between 1981 And '88. The Magical, Mind-altering Music Is Raw, Lo-fi, Spaced-out And Forward-thinking, Combining Effects-laden, Sample-heavy Sound Collages And Reverberating Ambient Soundscapes With Pulsating Proto-electro Jams, Moody Minimal Wave Instrumentals And Kosmiche-influenced Throw-downs. It Effectively Joins The Dots Between Early-80s, Diy Electronic Exploration And Dub Soundsystem Culture.

Artist From Guadeloupe, French Caribbean Island, That Has A More Than 20 Year Career, Despite Presenting His First Studio Album Now. He Has Lots Of Mixtapes And Shows Made In France And Spain, And Combinations With Artists And Producers Such As: Chulito Camacho (kinky Music), Sir Samuel (saïan Supa Crew) Or Morodo Among Many Others.


This Album Is A New Level, A High Quality Work Made At Oktopus Studios Madrid With Featurings Of Asante Amen, Ras Kuko, Yeyo Pérez, Ras Tewelde, Lion Sitté, B-man Zerowan, Apach And Nanou. Many Producers, Artists And Musicians Took Part Of The Project, For Example: Emeterians, Skamélia Band, Forward Ever Band, Infini-t Music, Positive Vibz Productions, Ed Bassie (okoumé Lions) Or Kinky Music Just To Name A Few.

12 Songs Plus A Bonus Track On The Digital Version Of The Album, Where Ti Polosound Proves His Versatility And Originality With Rythms Such As Roots, Ska, Newroots, Digital, Dancehall Or Even Afrotrap. Always With Positive Lyrics The Artist Transmits Conscious Messages With Tunes As "longtime" Feat. Asante Amen (jam), Lion Sitté (esp) & Ras Tewelde (ita), "la Guerre" Or "oh My Lord". This Last One Introduces The Album With An Incredible Video Made By Bumpy Films In, Aquitaine, France.


The Album Recorded And Mixed By Mista T (infini-t Music / Chalice Sound) And Mastered By El Chiky (positive Vibz Sound), Has Also Tunes For Dancing And Enjoying, Such As "mon Pied" Or He Big Hit "señorita" Feat. Yeyo Pérez... A Magnificent Album That You Can't Miss!

Die Beta Band war eine britische Musikgruppe, die ihren
eigenen Stil als Folktronic bezeichnete, was eine Mischung aus
Folk, Rock 'n' Roll, Trip Hop und hemmungslos
experimentellem Jammen darstellt.
Die Beta Band wurde 1996 in der Nähe von Edinburgh von
den Musikern Steve Mason (Gesang, Gitarre) und Gordon
Anderson gegründet. Als sie gemeinsam Songs für ihre Debüt-
EP Champion Versions verfassten, stießen mit Robin Jones
(Schlagzeug) und John MacLean (DJ, Sampler, Keyboard-
Pianist) noch zwei weitere Mitglieder hinzu. Im Juli 1997
veröffentlichten sie die von Nick McCabe produzierte EP
Champion Versions, die von Kritikern vor allem aufgrund des
innovativen "Cut'n'Paste"- Sample-Konzepts umjubelt wurde.
Zwei ähnliche EPs folgten bald darauf: The Patty Patty Sound
im März des folgenden Jahres und Los Amigos del Beta
Bandidos im Juli. Alle drei erschienen im September 1998
unter dem passend gewählten Titel The Three EP's in einer
Kollektion.

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back 'late' summer mood. We are very pleased to welcome yet again some new acts to Dirt Crew with the likes of 'Jaxx Madicine', 'Ouer', 'Times are Ruff' and 'S3A'. We cross many borders not only in genres but also country wise. From the heavy Disco sampled jam by French producer 'S3A' to the Jazz and Funk laden epos of the Italian 3 piece 'Jaxx Madicine' over to the Dutch deep house boys 'Times Are Ruff' who are well known from their, same named, label and finally to the Berlin duo 'Ouer' who also run an own label and released with our good friends at 'Heist Recordings', delivering an ecstatic electronic floating tune here.

This is all completed by some excellence from long time Dirt Crew artists. '25 Places' have been with us for many years now and their two Ep's have gotten so much love from the deeper deep house community. Here they drop an epic almost IDM techno like tune that closes this great album in the best possible way. Our Icelandic stall wart 'Felix Leifur' drops a heavy hitter named 'Buster'. After his recent 'Bobby Donny' Ep earlier this year we are thrilled to have him back on Dirt Crew! 'Harry Wolfman' and 'Ponty Mython' need no introduction really, they are adding Electro/ Disco/ Electronica fuelled cuts that form a great middle part to this mix of tunes. Harry going in very smooth and relaxed, something else than his usual House workout which we really loved to present to you. 'Ponty Mython' drops an irresistible 'good times' indie acid track in his unique 'free' style.

Last, we must of course not forget 'Dan Only' and key wizzard 'Lorenz Rhode'! With another beautifully smooth cut 'Dan Only' follows up on his latest debut Ep with us. Again a smart cross over in Techno and House with a distinct relaxed groove and atmosphere to it. Lorenz is back 'On Top' here after his super successful first offering to the Deep Love series last year and his 'And I Said' EP which stormed many charts. In the middle of touring and working with Detroit Swindle on their 'High Life' album we are super happy that he found the time to make another gem with that raw n funky live feel to it... We couldn't have started this compilation off with a better joint than 'Marakuja'.

Enough words for now ... just put these vinyl on your decks or stream/play it on the go and don't forget to drop them at a sweaty club night. Deep Love is here to stay!

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

Tompkins Square present the debut full-length by Welsh multi-instrumentalist, Gwenifer Raymond. Hailing from Cardiff and now residing in Brighton in the South of England, Raymond began playing guitar at the age of eight. Tompkins Square released her debut 7" on Record Store Day.

In Gwenifer's own words :

When I was about eight years old a pretty formative thing happened to me ... my mum bought me a cassette tape of Nirvana's Nevermind. Being so young I'd had no real interest in music prior to that, but I did have a 'My First Sony' cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar.

I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing.

I've always loved being in bands and the sonic chemistry it produces, but at the same time it's always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else's. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn't really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you're expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It's all just a lineup of strange mutations.

LP in printed innersleeve + download code. STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.

STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.


With fans that include Plaid, Kev Beadle, Kutmah, Lefto and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result.


Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track D.O.G.G. and it caught the attention of bloggers, 22tracks and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus and Lefto.


In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so.
The band's self-titled debut album, released in 2015, received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years". Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe, and included support from Gilles Peterson on BBC Radio 6 Music and Phil Taggart on BBC Radio 1.


STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on such diverse stages as the North Sea Jazz Festival (Netherlands), Pukkelpop (Belgium), Secret Garden Party (UK), Shambala festival (UK), Dimensions (Croatia) and Fusion (Germany). The band were also personally invited by Gilles Peterson to perform at On Blackheath, London.


Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for 'Best Musician' (Lander Gyselinck) and 'Best Artwork' (Rinus Van de Velde).
STUFF. are Andrew Claes (ewi/sax), Lander Gyselinck (drums), Joris Caluwaerts (keyboards), Dries Laheye (bas), Mixmonster Menno (turntables)

The Allergies are back with another corking new single - Dance Now is a super-sweet slice of sista funk that packs the sass to shake your ass. Honey Larochelle just wants to dance now and that's what she's gonna do with The Allergies providing the jams! Throw in some killer sax licks from brass man extraordinaire, Mr Woodnote, and it's almost impossible not to get down to this stylish selection of delectable grooves.

These guys are becoming well known for their sought-after double-header 45 records which have a knack of quickly becoming collector's items, and it's easy to see why when they pack out their single releases with quality cuts like 'Fade Away (feat. Andy Cooper)'.

It's another classic fast rap attack from the Long Beach-based MC of Ugly Duckling fame, as he spits rhymes over the 60's inspired samples and fat beats. So, something here for both the dancers and the hip hop heads in one neat little package.

On The Latest Release From Make Mistakes, Roy England And Friends Take Us On A Ride Into The Beautiful, Soulful Depths. From Uplifting Love Jams, To The Chunkiest House Funk, As Always, The Gang Has You Covered.
Roy England's Original Mix Soars Through The Night Skies. Pitter-patters, Emotive Pads, And A Driving Groove Bring Us The Softer Side Of Our Little Boogie Baron. Perfect For The Euphoric Abandon Of A Sweat Soaked Dance Floor.

Alexi Delano, A Man Who Needs No Introduction, Kicks Things Up A Notch, Taking The Original And Giving It A Restructured, Pumping Groove. A Dubby Line Runs Through, With Echoing Pads, A Pulsing Bass, And Fluttering Keys And Synths. A Beautiful Dance Floor Meditation, With Plenty Of Junk In The Trunk.

Fredy Grogan Takes A Hard Left, And Steps Confidently Into A Psychedelic, Tribal Funk. Teasing New Vibes Out Of The Original Material, Grogan Transforms Beauty In Rhythm Into A Classic House Groove, Before Settling Us In To A Hypnotic Groove.

Make Mistakes Keeps On Keepin' On. That's All We Know. the Tears Of The World Are A Constant Quantity. For Each One Who Begins To Weep Somewhere Else Another Stops. The Same Is True Of The Laugh. Let Us Not Then Speak Ill Of Our Generation, It Is Not Any Unhappier Than Its Predecessors.

Samuel Beckett, Waiting For Godot

Lucky Me Präsentiert Das Debütalbum Des Us-produzenten Suicideyear Aka James Prudhomme Aus Louisiana, Der 2014 Mit Einer Ep Auf Oneohtrix Point Nevers Label Software Debütierte Und Jüngst Mit Yung Lean Kollaborierte. Wohnhaft In Den Us-südstaaten, Wirkt "color The Weather" Wie Eine Geographische Transzendenz, Und Gleichzeitig Introspektion Und Fantasiewelt Des Jungen Produzenten. Beteiligte Vokalisten Bzw. Co-produzenten Sind Georgia (aus London), Casey Mq (ein Klassenkamerad Von Der Red Bull Music Academy) Und Singer-songwriter John Keek (aus L.a.), Das Sample Auf "days Won't End" Stammt Von Outthepound Aka Chris Burrell.

Look we're five records deep and yes, we aren't sure which tune is on which side... But luckily, this release is as high concept as Speed 2: Cruise Control. On one side you will find 'AD', which samples an inspiring speech given by the heroic Angela Davis at Southbank in 2017. Listen to her wisdom as you play this in your front room at 7am to people who suddenly can't quite look at their hands properly. The other side "PAS" greets you with warnings of atomic explosions over a riotous jam between a Yamaha CS-10 and a sturdy analogue 808 clone. If you have a pressing need for air raid sirens, this is for you. We hope you like this West Friends Release. There will be more..

The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.

Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.

Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.

To mark the 50th anniversary of Trojan Records comes 'Trojan Ska & Reggae Classics', a double vinyl album comprising 24 of the most celebratory Jamaican music hits from the iconic label's legendary catalogue.

Released in tandem with the TV advertised 3CD version of the same name, this joyous collection showcases the very best in classic Caribbean sounds, from rude boy ska to dancehall anthems, with the set featuring an incredible 22 Top 50 UK chartbusters, including 4 UK Number 1s and 13 Top 10s.

The perfect musical accompaniment for the summer of 2018 and beyond, this blistering 2LP vinyl collection compilation ably demonstrates just what makes Trojan so special and why it remains the world's greatest reggae label, half a century since its launch.

As an integral part of the Trojan 50 marketing campaign, the LP will be heavily promoted via the label's website, Facebook & Twitter pages, Instagram and YouTube channel.




















[T] D2 | Desmond Dekker - You Can Get It If You Really Want