Search:sm funk

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

Busy is Good is an assemblage of rare-groove and jazz-funk cuts pulled from 45s of the 70s and 80s. A project that celebrates pure creative expression, these under-appreciated tracks reflect the individual efforts of artists both of their time and ahead of it; local legends who challenged convention and produced work steeped in ambition.

From the seductively smooth “Twilight,” by New York’s own Febop, to the blistering key breaks and infectious funk of Bob Payne’s “Side By Side”, this anthology highlights the fusions and crossovers that occurred in jazz, rock, funk and soul at the time. Buddy Emmer’s jazz-kissed breezer “That Summer Nite” and Forest’s synth-pumped AOR cut “Crazy Days” further traverse the many styles that bloomed in the 70s and 80s.

Boogie Butt Records presents its new release: we are happy to find on this one our friend Will The Funkboss that we had presented on our previous compilation Boogie Slice Vol. 1. He comes back with an incredible dancefloor banger with two slices of Electro Funk coming in 7inch limited vinyl.
Willie The Funkboss is one of the French Rap producers we respect. From his beginning as a DJ in 1991 to his sparks in production at the end of the 90's, everything he touched was good.
He began his career as the resident DJ of the only French club dedicated to Soul and Hip-Hop and started to produce remixes and hip-hop instrumentals before leaving for NYC to perfect his productions and DJ's, before returning to Lyon.
Upon his return, he puts his discoveries to good use by founding Le Gang Du Lyonnais with his friend Raf, a group that specialized in producing French rappers and singers, collaborating with the best of French urban artists. In 2003, they went gold with the single of 113 (Mafia K'1 Fry) "Au Summum".
Today, Will The Funkboss produces Hip-Hop, Soul, Nu-Disco and House on quality labels (Plaizir Musik, Smokin Beats, …), still in the groove!
Just pop it!

Side A / Double A / You Feel Alright?

Double A returns for a sample heavy b-boy breaks workout with “You Feel Alright?”. This one’s a nod to his roots in late 80’s hip-hop; an à la Prince Paul cut and paste homage to a time when hip-hop was still for the dancers. There’s also a sneaky “whaddup?” to his fellow oldschool D&B heads in the breakdown. The main sample is 1970s
Afro-funk gold; horns, horns, and more horns. Bangin’ drums and a rolling baseline tie it all together for the dance floor.

Side AA / The Gaff / High Life

Party rocker, turntablist, edit maestro, all-round good dude, and Canadian National Treasure, The Gaff smashes a heavy afro-funk edit with a b-boy feel on this one. Knockin’ drums, syncopated percussion, and a house(ish) tempo make this one a guaranteed floor filler. A smattering of male vocals is the icing on the cake here too. Dj-friendly intro and outro for your mixing pleasure. A must for your crates.

This HOT double-A side features the 70s Torch dancer 'HERE I GO AGAIN' - with it's crashing backbeat and fabulous 'call-to-the-floor' intro. The song was originally released in the USA by Atlantic Records in 1969, to little acclaim at the time, but later spiraled to No.11 in the UK pop charts in 1972 due to demand from the Northern Soul scene. 'TIGHTEN UP' was one of the first songs to be recorded by Archie Bell & The Drells, in Houston, Texas in 1967. The track had originally been developed by the T.S.U. Toronadoes and, coupled with Bell's unique spoken introduction, caught the imagination of the nation earning the band a gold disc and a No.1 R&B and Pop smash. It would become a UK Mod anthem and spawned future club hits care of Willie & The Mighty Magnificents 'Funky 8 Corners' and Frankie Crocker's floor packin' 'Ton Of Dynamite' (also available from Outta Sight, OSV106).

Nepumuk / Knowsum glides onto the Growing Bin under his given name, living his best life in this lush loungecore fantasy. Eyebrow raised and hips unlocked, Nelson strolls through affluent funk, sun-blushed boogie and slacker soul to deliver a playful pop masterpiece. A Revered MC and renowned beat maker, his syrup-smooth vocals are just the cocktail cherry on top.

Following the sublime smash debut "X17", LA-based label Elbow Grease head conductor Dave Aju continues on his righteous piece-by-piece journey toward a multi-genre multiverse, where deep musical roots come together in kaleidoscopic expression, and unfakeable funk reigns supreme.

"Spacio Tempo" picks up where we last left off, though with a notable drop in bpm as the title implies, with a rolling 4/4 textural tapestry that combines pulsating layers of soulful synth work, effervescent live percussion, and heavenly strings into a dense yet open-as-the-night-sky extended gem yet again. Just as the machine patterns of near-equator rhythms bubble over and begin to lock into a hypnotic groove, a bold left turn into a dank latin jazz noir vibraphone solo and SH-101 duet tango ensues, before landing us safely back at home base - right on time, at its own spacial pace.

As per the Elbow Grease release recipe so far, the B1 cut offers DJs a more driving flex, this time in the form of the "Acido Tempo Mix": a raw 303-driven take on the original which will undoubtedly stomp its way fiercely thru many bass bins in sweaty basements and warehouses worldwide. Finally the B2 blessing "Domingo Dub" closes things out, removing all but the highest vibes as an ambient drifting and uplifting take on the main theme, where the faintest of vocal tones, space echoes, and light percussive touches leave us elated in a West Coast, with subtle splashes from the D, sunset dream. Another solid single turned three-tracker sure-shot from EG.

Peer through the windows of the sun-dappled homes in Sicily and you will be faced with a small, strange ceramic object adorning each hallway. It is a glistening pine cone standing upright – a pigna – the longstanding symbol of Sicilian openness and welcome hospitality.

The pigna is a delightfully unusual and yet apt symbol for the title of the third record from Benjamin Harris, AKA Yarni. Ever since his debut LP release in 2017, Yarni has established a following committed to his musical openness, an intuitive curiosity that has spanned everything from house and techno to cinematic ambience and Japanese percussion, as well as jazz horns and afrobeat fanfares. For Yarni, anything goes and everyone is welcome. Now, Pigna sees Yarni reach his fullest and most musically diverse expression, taking its name and ethos from Sicily, but finding a sonic home in the luscious orchestration of a new ensemble of musicians.

Here, at the helm of a nine-person ensemble, Yarni artfully pieces together live improvisations to create the warmth of a seasoned group performing deep within the groove. Opener “Midnight Getaway” places the listener squarely within the disco-funk of Daft Punk as Yarni’s top-line synth intersects with a rolling bassline and a lyrical flute solo from Rachel Shirley. This optimistic tone of sunlit spaciousness is then heightened on “Utopia”, as Yarni’s horn section comes to the fore to pay homage to the ineffable syncopations of Fela Kuti’s pioneering afrobeat.

Rather than scratch at the surface of these musical genres, Yarni’s attuned ear embodies the emotive essence of his various sounds by paying intimate attention to their creation. There is the punch of that afrobeat sax on “Utopia”; the rhythmic skitter of breakbeats on “The Astral”; the sludging thump of funk in the bassline on “Nova”. Collaborators are given free reign, too, to incorporate their own unique stylings into this remarkable whole, from vocalist Emily Marks’ languid tone on “In A Dream”, to saxophonist Jonoa’s innate swing on “Cherub”, and the metronomic movement of bassist Ally McMahon’s playing throughout.

Listening to Pigna is ultimately to find yourself squarely within the comforting embrace of Yarni’s musical mind. It is a truly LP experience – a record to be placed on the turntable’s platter and then left to play, allowing yourself an immersion in these journeying soundscapes. It is no wonder fellow sonic travellers such as the late Andrew Weatherall and DJ Harvey have been supporters of Yarni’s work, since here is a kindred spirit – an artist shaped in the form of radical openness, speaking the hospitable, universal language of beautiful music.

Peer through the windows of the sun-dappled homes in Sicily and you will be faced with a small, strange ceramic object adorning each hallway. It is a glistening pine cone standing upright – a pigna – the longstanding symbol of Sicilian openness and welcome hospitality.

The pigna is a delightfully unusual and yet apt symbol for the title of the third record from Benjamin Harris, AKA Yarni. Ever since his debut LP release in 2017, Yarni has established a following committed to his musical openness, an intuitive curiosity that has spanned everything from house and techno to cinematic ambience and Japanese percussion, as well as jazz horns and afrobeat fanfares. For Yarni, anything goes and everyone is welcome. Now, Pigna sees Yarni reach his fullest and most musically diverse expression, taking its name and ethos from Sicily, but finding a sonic home in the luscious orchestration of a new ensemble of musicians.

Here, at the helm of a nine-person ensemble, Yarni artfully pieces together live improvisations to create the warmth of a seasoned group performing deep within the groove. Opener “Midnight Getaway” places the listener squarely within the disco-funk of Daft Punk as Yarni’s top-line synth intersects with a rolling bassline and a lyrical flute solo from Rachel Shirley. This optimistic tone of sunlit spaciousness is then heightened on “Utopia”, as Yarni’s horn section comes to the fore to pay homage to the ineffable syncopations of Fela Kuti’s pioneering afrobeat.

Rather than scratch at the surface of these musical genres, Yarni’s attuned ear embodies the emotive essence of his various sounds by paying intimate attention to their creation. There is the punch of that afrobeat sax on “Utopia”; the rhythmic skitter of breakbeats on “The Astral”; the sludging thump of funk in the bassline on “Nova”. Collaborators are given free reign, too, to incorporate their own unique stylings into this remarkable whole, from vocalist Emily Marks’ languid tone on “In A Dream”, to saxophonist Jonoa’s innate swing on “Cherub”, and the metronomic movement of bassist Ally McMahon’s playing throughout.

Listening to Pigna is ultimately to find yourself squarely within the comforting embrace of Yarni’s musical mind. It is a truly LP experience – a record to be placed on the turntable’s platter and then left to play, allowing yourself an immersion in these journeying soundscapes. It is no wonder fellow sonic travellers such as the late Andrew Weatherall and DJ Harvey have been supporters of Yarni’s work, since here is a kindred spirit – an artist shaped in the form of radical openness, speaking the hospitable, universal language of beautiful music.

The Spy from Cairo (aka Moreno "Zeb" Visini) returns with his 5th studio album on Wonderwheel Recordings: "Animamundi" features some special collaborations from his travels & live shows from over the past few years. The album reflects the move from his home in NYC to his mother's home in a quiet village in Italy to take care of her in her older age. It's been a difficult transition with Italy's challenging experience with the pandemic, including some of the strictest measures enforced on the public. He recalls by stating "This album was conceived between 2020 and 2021 in Italy, between lockdowns, restrictions, and various pandemic mandates. Its message is of hope and positivity - a reminder that we are all spiritual beings… Free spiritual beings… and that freedom can't be broken."

"Animamundi" is a reconfirmation that The Spy from Cairo overcomes all obstacles & delivers a diverse progression of his iconic "Arabadub" sound, with the help of collaborators like Andalucian vocalist Carmen Estevez, Mexican vocalist Mambe Rodriguez on the heavy hitting "Criminal," Egyptian vocalist Adii Small on "Beautiful Baraka," and former touring band member, the multi-instrumentalist and vocalist Fatima Gozlan from Hungary. The music can vary from heavy deep electronic synths and live eastern instrumentation with Zeb playing oud, saz, chiftelli, bass, percussion, and other instruments, all along giving it his signature dub mixing style.

The songs take inspiration from a wide range of musical traditions and cultures, including Turkish (on "Cosmic Pasha," "Qanun in Dub" – using the qanun, an instrument popular across the Middle East, with a sound between the European harp and a dulcimer – and "Black Sea," which utilises a typical Dabke melody), Egyptian ("Mizmirized," sampling riffs from a mizmar), Indian ("Seeds of Culture), and Sufi ("Divination," a devotional composition), fusing these reference points with healthy doses of cumbia, funk, reggae, psychedelic, and dub. Thematically, "Animamundi" deals with some of the struggles Zeb – and all of us – have faced the last two years, through the lens of his personal experiences. Yet, the tone of the record manages to remain positive, like an uplifting dance through the world's sounds; after all, "Animamundi" means "soul of the world" in Greek. With album art by Sam Angeli and layout design by Marcial Arts, this beautiful album is a truly well-rounded worldwide collaboration.

"Animamundi" will be released digitally on March 4th, 2022, with the LP to follow shortly after.

As Motorist, LA native Joe Rihn makes music which points in the direction of the soulful, jazz inflections of artists like Wax Doctor and Peshay. Time Is Now White Vol.20 pays testament to his dexterity in creating fully-immersive atmospheres, as well as his penchant for rhythmic experimentation.

The EP's smooth-as-silk opener 'Drip' typifies this, luring you in with the psychedelic-funk tones of wah-pedalled guitar plucks, and the instrumental quality of percussion which cruises along at half-time before Amen breaks pick up the pace. 'Balamb Garden' captures D'n'B's meditative potential, driven by a dynamic syncopation which swings beneath airy pads and piano tinkles before the harder-hitting raw club track 'Caldoria' brings the A-side to a storming close.

'Blast Route' picks things right back up again, together with 'Prism', which nod more to the hardcore proclivities of the likes of DJ Die with distorted drum breaks and warped basslines. 'Rover' strips things back once more, boasting Motorist's capacity for teasing out the slower, more mellow side of 160.

Available for the first time as a Picture Disc! While Edan’s critically acclaimed debut, ‘Primitive Plus’, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, ‘Beauty And The Beat’, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the "100 Best Indie Hip-Hop Records of All Time" list. In 2013 NME placed it at number 392 on the "500 Greatest Albums of All Time" list.

“A Psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice

“This is a record that exults in the joy of musical creation. It should prove impossible not to love” - The Times

“Perhaps one of the greatest US hip-hop album you’ll hear” – DJ
NME 8/10

Pitchfork 8.8/10

MOJO ****

Uncut ****

Stylus A-

HipHopDX 4.5/5

Entertainment Weekly A-

Available for the first time as a Picture Disc! While Edan’s critically acclaimed debut, ‘Primitive Plus’, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, ‘Beauty And The Beat’, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the "100 Best Indie Hip-Hop Records of All Time" list. In 2013 NME placed it at number 392 on the "500 Greatest Albums of All Time" list.

“A Psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice

“This is a record that exults in the joy of musical creation. It should prove impossible not to love” - The Times

“Perhaps one of the greatest US hip-hop album you’ll hear” – DJ
NME 8/10

Pitchfork 8.8/10

MOJO ****

Uncut ****

Stylus A-

HipHopDX 4.5/5

Entertainment Weekly A-

On June 3rd, the GRAMMY-nominated six-piece — Adam Deitch (drums), Ryan Zoidis (saxophone), Adam ‘Shmeeans’ Smirnoff (guitar), Erick ‘Jesus’ Coomes (bass), Nigel Hall (keyboards/vocals), Eric ‘Benny’ Bloom (trumpet) — will be delivering a whole host of new tunes to the world in the form of 'Unify,' the eighth studio album from Lettuce and the third consecutive record made at Denver’s Colorado Sound Studios, completing a loose trilogy starting with 2019’s GRAMMY-nominated Elevate, and continuing with 2020’s Resonate. Fans can expect the same tight, wildly-funky instrumentals Lettuce has always been known for, but in the tightest form they’ve ever taken. And this time around, the guys have gotten the stamp of approval from one of the genre’s most legendary icons, Mr. Bootsy Collins, himself, who can be heard singing on the track “Keep That Funk Alive.” “Dealing with the pandemic, being in separate places, trying to survive without our best friends, without touring, not to mention the political divide in this country,” says Deitch.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years; principally in his collaborations with the former Fela and Femi Kuti keyboardist, Dele Sosimi, and with the pianist and composer Kishon Khan, most recently in his groups Lokkhi Terra and Cubafrobeat. He has also worked with the likes of Afrobeat drum legend Tony Allen, and with the Cuban giants Giraldo Piloto, Julito Padron and Changuito. Thurgur is also a member of the seminal English folk group Bellowhead.

'Many Faces' brings together this musical journey, with Afro-infused grooves and nods towards Cuban Jazz and Dub, with Thurgur's early passion for the likes of Miles Davis, Coltrane, Lee Morgan, Wayne Shorter, Herbie Hancock, et al....

It features both Khan and Sosimi, who have contributed as co-writers as well as bringing their own inimitable sounds on piano, rhodes and hammond organ. Alongside them are some of the leading musicians on the UK's African, Cuban and Jazz scenes, plus collaborations with rising star singers Jade Pybus and Sahra Gure.

Justin Thurgur - trombone (and some additional keys)

Graeme Flowers - trumpet and flugel horn

Simeon May - tenor, baritone and alto sax

James Allsopp - bass clarinet

Jade Pybus - vocals (on 'Woman')

Sahra Gure - vocals (on 'Be A Little Wiser')

Kishon Khan - piano, rhodes and hammond organ (on tracks 1,3,4 and 5)

Dele Sosimi - piano (on tracks 2 and 6) and vocala (on track 6)

Phil Dawson - guitar

Suman Joshi - double bass (except track 5)

Jimmy Martinez - double bass (on track 5)

Tansay Omar - drums (on tracks 1,3 and 4)

Kunle Olofinjana - drums (on tracks 2 and 6)

Yoann Julliard - drums (on track 5)

Afla Sackey - congas and djembe (on tracks 1,2 and 6), shekere and cowbell, and vocals (on track 6)

Oreste 'Sambroso' Noda - congas (on tracks 3 and 5)

Evie Hilyer-Ziegler - violin and viola

Paul Sartin - violin

Track 1 written by J Thurgur and S Gure

Tracks 2 and 6 written by J Thurgur and Dele Sosimi

Track 3 written by J Thurgur

Track 4 written by J Thurgur and J Pybus

Track 5 written by J Thurgur and K Khan

Recorded at Fish Factory by Simone Gallizio and Sean Douglas, at Boneman Studios by Justin Thurgur, at Better Pass Your Own Studios by Phil Dawson, at Thank You Please Studio by Kishon Khan and at 224 Studios by Matteo Musetti.


Mixed at Hi Street Studio by Mauro Caccialanza.

Mastered at Gearbox by Caspar Sutton-Jones.

Artwork by Matthieu Dufour

Photos of by Siobhan Bradshaw, Justin Thurgur, Stephanie Sian Smith,

Chantal Azari, Alex Bonney, Heather Hoyle, Nicole Thurgur, Joanna Mendel, Tansay Omar, Richard Gearey, Faye Hilyer-Ziegler and Svetlana Onye.

Sonor Music Editions present the first ever reissue of another Italian Library holy grail, fruit of the union between two of the most brilliant composers of Italian panorama: Alessandro Alessandroni and Rino De Filippi. "VACANZE" album (in English 'holidays'), was originally released in early/mid 70s on Sermi output, and is one of the most elusive records from the label out there. From refined Lounge music to stunning Jazz-Funk and groovy vibes, this album features an unbelievable set of the coolest themed music from the whole Library scene, with maestro Rino De Filippi's harpsichord on evidence in many tracks and soaring, loungy and dreamy moods throughout the entire album. A superlative recording, with an incredible sleeve design that has obssessed Library collectors for years, and for sure among the best releases from the gold Sermi label along with "Nel Mondo Del Lavoro" release just announced.

LaRose Jackson, who you may remember from "Luv Jones" - the 2014 party-certified smash duet with the incomparable Charles Bradley - steps into the spotlight with her funky solo debut, "How Did I Get Here?".
Born and raised in Coney Island, LaRose's rich timbre and assertive vocal delivery caught the attention of producer Tommy "TNT" Brenneck one night when he was in attendance at Charles Bradley's legendary "Black Velvet" show at Club Essence - where Jackson was also a regular performer. The two hit it off and began collaborating on several sides, the fruit of which we humbly offer up here.
LaRose's tough-as-nails delivery coupled with the infallible groove and sure-shot horn arrangement courtesy of the Menahan Street Band distills the track down to Soul in its purest form, without sacrificing any of the rawness one comes to expect from a TNT production.
Expect much more on the horizon from LaRose and Co.. This is just the tip of the iceberg!

Premier League Pressings returns with another top of the table seven inch 45 beauty.
It's a game of two halves!

SIDE A
THE CHOPPER - CHOP UP THE PIECES
Picking up an above average classic, the Chopper takes the ball into leftfield and sends it spinning into the stratosphere with some deft cut and paste action.
Dancefloor disco funk with an edge. Back of the net!

SIDE B
LADY SMILEY - QUEEN OF FREAK DANCE
A forgotten disco rap classic of yesteryear is is given a new formation, completely re-arranged and beefed up to bring the funky drums to the fore and the make the dope verses sound even better.
Disco rap for modern dance floors. A premiership title contender!

Vega Records is proud to present its newest release “Time To Let Go” with Mike Lindup, singer, keyboard player composer and founder member of the legendary band Level 42. Formed in 1980 with Mark King, Phil and Boon Gould, the band has sold over 30 million albums and still performing worldwide. Mike Lindup has performed onstage with many artists including George Harrison, Eric Clapton, Ringo Star, Sting, and more. Even on theater stages in London’s West End, Mike Lindup has played on shows Thriller Live, Let It Be, and has completed four tours on the Thriller Live tour production, twice as Musical Director. “Time To Let Go” is taken from the new Mike Lindup album “Changes 2” with smokin’ remixes by Two Soul Fusion AKA Louie Vega & Josh Milan. The Remixers deliver two versions, one taking you to the soul house funky grooves of Two Soul Fusion and the other catapulting you into the world of Afro House. It’s all about Mike Lindup’s unique voice and his powerful, brilliant lyrics that make a huge statement well needed in the world today. Grooves to make you dance are no problem for Two Soul Fusion but when you have award winning lyrics its a whole other level here. The man who sang the lead vocal on New York City’s favorite dance club culture classic “Starchild” by Level 42 has now blessed Vega Records with the new gem “Time To Let Go”.

"In Waves is a new sister label of Lee Burridge's All Day I Dream. Its third release comes from Zone+ and is a superb 13 track collection that sinks you deep into the artist's rich house sounds.

A Balloon In The Wind (Ambient) opens top with dreamy pads and spring day sounds, then supple grooves arrive like Hello to take you away into a hypnotic world. Shinobi has bumpier drums and elastic bass, Bohemian brings worldly percussive sounds and Mandalorian layers up smooth drums with soft pads and angelic vocals.

This most heady and cuddly of albums plays out through the clipped house and subtly funky kicks of What's Going On, the bubbly sounds and Middle Eastern vocals of The Musician and widescreen melancholic chords of Luna. Electric Dreams is a fine collab with Usif and the album closes on the tightly woven late night deep house of Uncommon.

This is a masterful album of smartly layered grooves, emotional pads and escapist vibes."

A1. DA SHAKE
A synthesizer-based production machine that turns inspiration into sound at maximum speed
recorded or extract (a small piece of music or sound) digitally for reuse as part of a composition or song like this one.

A2. GARDEN OF EDEN
In Abrahamic religions, the Garden of Eden (Hebrew: גַּן־עֵדֶן, gan-ʿĒḏen) or Garden of God (גַּן־יְהֹוָה, gan-YHWH), also called the Terrestrial Paradise, is the biblical paradise described in Genesis 2-3 and Ezekiel 28 and 31.12
The location of Eden is described in the Book of Genesis as the source of four tributaries. Among scholars who consider it to have been real, there have been various suggestions for its location:3 at the head of the Persian Gulf, in southern Mesopotamia (now Iraq) where the Tigris and Euphrates rivers run into the sea;4 and in Amnesia Ibiza

B1. HOLLOW
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the Hollow

B2. REC 4
If the recording is going on, the capture button turns red. In addition, a timer will be displayed, showing how long the recording is done.

It started, as it so often does, with two old friends hanging out.

John Shima and C P Smith were joking around one evening in their home city of Sheffield. At some point, Smith challenged Shima that, if the latter could produce a record using nothing more than a small modular synth setup, then Smith would release it on his Central Processing Unit label. As heads will know, while Shima has drops on imprints like FireScope and Subwax Excursions to his name, he had never previously released anything via CPU. Shima accepted, and thus we now have his CPU debut, the four-track EP CPU Modular 1.

The specific setup that Shima worked with for these tracks was Smith's Doepfer A-100P6 Suitcase, a small but mighty combination of modules and programmers. It's no surprise that Shima was able to familiarise himself with the equipment in double-quick time - after all, Shima was an early adopter of the Eurorack modular format back in the day. What emerged from the CPU Modular 1 sessions was a quartet of devastatingly effective DJ tools, mid-set rollers which will get the dance moving something crazy.

Opener '003' kicks the EP off as it means to go on. There's something at once stiff-necked and buoyant about the rhythms here, all thwacking Roland tones and snares which crack like someone whipping a length of sheet metal. While the beat barrels unyieldingly onwards, the programming in the tuned modulars is more exploratory and even trippy, full of delay-laced bleeps and flighty rhythmic motifs. It comes together for a cracking mix in the vein of artists like Jerome Hill and London Modular Alliance. Second A-side cut '010' is no different, the street-beat groove and grumbling low-ends underpinning all manner of modular wizardry.

CPU Modular 1 is really timeless stuff, a set of percussion-heavy, future-focussed beats which recalls Smith's own CPU drop 'DJ Tools Vol.1 - 808 Tracks'. '011' kicks of CPU Modular 1's second-half with a dose of Drexciyan dystopia, playing an atonal loop off of an insistent bass wiggle and neurotic hi-hats. Even when Shima tightens or slackens the modulars here, '011' remains unyielding, a dose of pure 'Wip3out' energy that you could happily groove to all day long. The EP closes out with '005', a gnarled, gurgling production which still retains the dancefloor punch of the rest of the record.

For his Central Processing Unit debut, John Shima was tasked to produce four tracks using a single small modular setup. Unsurprisingly given the pedigree of this seasoned machine-funk pro, Shima aced the assignment.

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

'This is great' - Gilles Peterson, BBC Radio 6 (on 'It's Time)

'Beautiful' - Kassin (producer Caetano Veloso, Sonzeira etc) (on 'It's

Time')

'Rapid-fire guitar work with variety and energy' – The Guardian, UK

'A great guitarist' – Tony Allen

'An absolute killer - irresistible' - Snowboy (on 'Gnostic Hilife')

'Phil Dawson and his (quintet) are really smoking at the mo. No wonder the London jazz young guns are ripping it up with bands

like this leading the way. Miss them at your peril' – Russ Jones (Future World Funk)

Jazzwise Review

The British guitarist Phil Dawson is a fixture of a plethora of Brit-jazz bands and international roots outfits; his nuanced stylings have graced the work of A-listers from Ethio-jazz guru Mulatu Astatke to such late African greats as Tony Allen and Hugh Masekela. Like any an in-demand session player worth his chops Dawson also fronts his own trio/quartet/quintet, all of which allow him to stretch out and do his own thing, which – with his quintet - he does to pleasing effect here.

Buoyed by flute, bass and percussion, It's Time is a six-track brew combining free improv and spoken word with Afro-spiritual groove and a far-out esotericism befitting these strangest of times. Opener 'It's Time (Radio Edit)' is a psychedelic romp through a beneficent cosmos where ringing chords and woodwind trills underpin Khaditjatou Doyneh's pathos-laden musings on love and the universe and one of three variations on a theme. Over three minutes longer at 9:34, 'It's Time (aka Ougama)' is a freewheeling instrumental made dazzling by Dawson's silver-fingered guitar work; Doyneh resumes her pronouncing on the more dissonant but equally mind expanding 'It's Time (Fully Spoken)'. Then there's 'Gnostic Hilife', whose three interpretations each juxtapose the structures of this West African lingua franca in ways tight, spacious and inventive

Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash line up of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now rereleased as a 180gm 3LP special edition, with an additional 12 tracks compiled by The Clash.

Having returned to London following their pivotal 17 show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatting Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.

The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.

Also includes rare Pennie Smith images + history of Frestonia essay by Tom Vague.




















t d5 The Fulham Connection aka The Beautiful People Are Ugly Too




















[t] d5 The Fulham Connection [aka The Beautiful People Are Ugly Too]

The Qualitons are one of the few internationally known and critically acclaimed bands Hungary has had to offer in recent years.

They played at numerous festivals across Europe and the USA, performed a live session at legendary indie station KEXP and have released a total of four albums.

Their latest (and last) LP called Kexek is a beautiful and respectful tribute to the music of KEX, one of the most legendary, interesting, and tragic bands of Hungarian music history.
Their avant-garde performances were ahead of their time (especially in communist Hungary) and resulted in brutal repression from the authorities.

They could release only one official single before they were literally smashed by the police, to save his life, key figure Janos Baksa-Soos even had to flee the country.

The concept of the Kexek album was simple: each member of The Qualitons picked one KEX song which they had full creative control over, they re-arranged, mixed them individually and then recorded the tracks together.
What came out of this process is a unique, yet consistent mix of folk, psychedelic, and progressive funk-rock that gets more exciting with each listen.

The LP is limited to 500 copies worldwide.

Created in the middle of the pandemic this album celebrates the magic that happens when 4 very uniquely gifted, but very complementary, instrumentalists come together for a jam session. From hazy guitars & warm keys over to funky beats & psychedelic grooves to ease you into an album that circumnavigates 360 degrees of soulful music.
Adding some garnish to this rhythmic stew are an impressive
collection of special guests: Olivier St. Louis, Nneka, Lui Hill,
J.Lamotta, Bowie & Flo Mega.

The KBCS represent the musical coming together of four very uniquely gifted, but very complementary, instrumentalists from Hamburg, Germany. Color Box, their sophomore LP, happened almost by accident, born as it was out of a series of freestyle jams.
The album kicks off with three instrumental openers - the first of which, Popsicles, is best described by the band them- selves as “a late summer teenage adventure”. Hazy guitars and warm keys playfully amuse each other over a solid, funky beat on what is an evocative and vivid introduction to this talented foursome. It’s followed by Whistleblowers, a sweet and somewhat whimsical piece where another sturdy bottom end allows keys and strings to enjoy some lively interplay, and Jolly Tumbleweed which, with its optimistic yet melancholic feel, completes the trio of warm, hazy psychedelic grooves to ease you into an album that circumnavigates 360
degrees of soulful music.
Adding some garnish to this rhythmic stew are an impressive collection of special guests. Berlin based, and internationally adored vocalist Olivier St.
Louis sprinkles a little Cali sweetness with the head nodding Pockets - one of the most immediate and soulful cuts on the album. A guaranteed ear worm, bringing a little sunshine to the winter months to come.
Elsewhere, multi-talented Nigerian singer Nneka lends her distinctive voice to the very succinct but powerful Afro-soul of Ndidi; the enigmatic Lui Hill lays his soul bare with honesty and candor on the alluring Albatross; Tel Aviv born J. Lamotta gives The Center a somewhat delicate and fragile dimension that plays perfectly alongside graceful guitars and contrasts with a sturdy backbeat of bass and drum; and Viviane Ann, AKA Bowie, smooths out the rough edges on the very radio friendly Wasting All Your Lovin’.
This is indeed music from the heart; a document of their coming together; and music that needs to be heard live!

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label 1634 Lexington Ave. left many contemporary soul fans in awe – some in tears of joy – and they will be pleased to know that he has something new cooking in 2022.

The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam. A steady tambourine beat rides the mellow Cold Diamond & Mink groove, leaving Carlton all the pockets he needs to fill with his ever-funky but delicate delivery.

Keep tuned this year for a bunch of new soulful tracks from Carlton and Cold Diamond & Mink. They will keep you warm and cozy through any kind of weather!

Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label 1634 Lexington Ave. left many contemporary soul fans in awe – some in tears of joy – and they will be pleased to know that he has something new cooking in 2022.

The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam. A steady tambourine beat rides the mellow Cold Diamond & Mink groove, leaving Carlton all the pockets he needs to fill with his ever-funky but delicate delivery.

Keep tuned this year for a bunch of new soulful tracks from Carlton and Cold Diamond & Mink. They will keep you warm and cozy through any kind of weather!

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Repressed on red vinyl!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Cologne-based, multi-instrumentalist and creative jazz powerhouse
Gianni Brezzo presents his full-length LP “Tutto Passa,” arriving via
Berlin’s Jakarta Records May 5th.
Gianni Brezzo is the jazz affiliated band / studio project headed by
Cologne-based producer & creative maestro Marvin Horsch, whose diverse musical profile is reflected both in his scene-hopping as well as his creative output. Besides producing cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, culminating most recently with “The Awakening” EP in 2021 on Jakarta Records. While Gianni’s works are usually instrumental only, “The Awakening” featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” and “Café / Croissant”, and most recently was synced in an episode of Gossip Girl for HBO US.

Gianni’s new LP, “Tutto Passa” is a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani, Piero Piccioni and Armando Trovajoli to more recent work by Sven Wunder. Sonically rich, the album rides a sonic wave similar to some Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood all rolled into one beautifully luscious work. Jakarta is ecstatic to share such a career-defining work, arriving May 6th, 2022.

The albums 1st single, “Il Sole” will be released Wednesday, March 2nd with the LP pre-order announcement that Friday, March 4th to capitalize on Bandcamp Friday. The track is a perfect sonic voyage that encapsulates the growth of Gianni’s sound and gives a sonic peak into the LP. Subtle, yet lush layers of synths, horns, keys and strong, beat-driven percussion all ebb and flow together, bringing to mind the finest Library Themes of Umiliani, Sven Wunder, Janko Nilovic and others. Visualizer accompaniments for all singles provided by Robert Winter and his DIE OTTOS crew that perfectly captures the sonic mood.

The LP’s 2nd single, “Capture This,” will be released March 30th and is a splash of pure, groovy, jazz-funk. Instantly catchy, the track will have you imagining yourself in a movie that perfectly captures the musical themes: playful flutes, crisp, fluid guitar riffs, heart-pulling strings, all held together by a strong, swingin’ drum groove.

The third single is the stunning, swirling, thematic track “Rising Of My
Mind.” Careful layers of harmonized brass, flutes, percussion ebb & flow, bubbling up to the acoustic surface like sonic ripples effortlessly bursting from Gianni’s auditory palette. Only reaching the tracks full crescendo more than 2 minutes in, “Rising Of My Mind” is on that finest jazz tip, raising Gianni’s musical caliber into the skies.

Focus track is the effortlessly smooth, soulful jazz-funk piece, “Torino.” Certified fresh, the progression gives you that euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find.

“Tutto Passa” is a project with a variety of moods ranging from Arthur
Verocai and David Axelrod inspired arrangements to lush, thematic jazz progressions with a swingin’ percussive edge. It’s a timeless release, one that would sit just as well in 1972 as it does in 2022, and one that, as Gianni says:
“…reflects exactly the feeling I had last year when I was in Italy with my own family. As a musician, I was looking for the challenge of a more orchestral approach on this album, which I hoped to achieve with my arsenal from the Cologne jazz scene and the support of musicians from around the world.”
Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US, UK & Italy

What would you do if a never before released jazz funk album from 70s Yugoslavia had dropped suddenly into your arms? An album which sounds like a crate diggers holy grail!? Album full of heavy drum breaks, repetitive bass grooves, superb sax solos and world class jazz arrangements finely intertwined with Yugoslavian folk music elements?! - “PRESS IT!” ~ That’s what we said always striving to present the future of unheard sound of Yugoslavia! With the help from Mr. Cosmic himself (Željko Kerleta), Jovan Maljoković and his wife Nevenka and, of course, Radio Belgrade who provided the recordings buried deep in their library, here we present Jovan’s first vinyl release since 1989 and his album nr. zero. If this LP was released in 1976, sounding this clear and impressive as it sounds today, it would be up on the pedestal with cult Yugo jazz-funk releases such as Sećanja by Miša Blam (also released on Everland) – and believe me – it would burn a whole through your wallet. Don’t allow me to get started on the Jovan’s ensemble personnel here, represening the crème de la crème of jazz and funk instrumentalists of Yugoslavian Jazz (Goce Dimitrovski, Miloš Krstić, Kire Mitrev, Miodrag Maljoković, Aleksandar Sanja Ilić, Miša Blam, Uroš Šećerov...). The raw execution, top recording and compositions resembling but not imitating the greatest contemporary western jazz-funk ides of the time, that sound like something that could have been easily released on Mainstream, Columbia, MPS or even be an authentic Kudu hit record if it had been released at the time by Creed Taylor. Just listen to the track A1 Ponor Naviše with a whirlwind of big band arrangement turnovers or track B1- Uspomena (hint: Sećanje...) where Jovan takes on the ‘Lame donkey’ in a strong downbeat rearrangement released just two years after Volker Kriegel published it on his album Lift! (MPS/BASF 1973.). You’ll be blown away by the instrumental prowess of the ensemble and Jovan’s ideas! ~ Dr. Smeđi Šećer

20 years ago, US heavy and hard rock titans Mos
Generator took the heavy (stoner) rock music scene by
storm with the release of their first self-titled album. To
celebrate this special anniversary in style, the band’s
charismatic frontman Tony Reed himself has revised and
remastered this vinyl reissue of their pathbreaking debut
album.
 Mos Generator - who formed in 2000 in Port Orchard,
Washington from the ashes of a ten year off and on
collaboration between its three members, all of which
are long time veterans of road and studio - have inspired
the heavy music scene since decades. The band have
released nine full length studio albums, two live albums
as well as several singles and split albums over their
impressive career by labels as Stickman, Ripple, Heavy
Psych Sounds, Roadburn, Small Stone and Listenable.
 Touring has been just as important to the profile of the
band as making records has. Over the years Mos
Generator has shared the stage with many big heavy
rock names across Europe and North America including
extensive tours with Saint Vitus, Fu Manchu, Melvins,
Pentagram, Elder, Spirit Caravan and Atomic Bitchwax.
They have also played prestigious festivals throughout
the world, fusing soul with doom metal into a great loud,
funky and psychedelic concoction of heavy rock.
 Their 2002 debut album was the starting point, and this
hand-numbered clear vinyl 20th Anniversary edition of
‘The Mos Generator’ release is a must have for fans old
and new.
 For fans of Orange Goblin, Fu Manchu, Sheavy, Mind
Funk, Kyuss, Mountain, Nebula, Black Sabbath and
Monster Magnet.

Repress
Byron the Aquarius (aka Byron Blaylock), an accomplished keys player as much as he is a producer, has a deep love for the organic side of music. This shines through in his creations, back to his debut EP in 2007. More recently, Blaylock's skillful jazz beats have found a home on the one and only Jeff Mills' Axis Records. From his birthplace in Birmingham Alabama, Blaylock has grown into an international figure of acclaim for his explorative compositions.

Already having two successful EPs with Shall Not Fade under his belt - most recently marking the labels' 50th release with What Up Doe? Vol.2 - Byron the Aquarius returns for a gorgeous double LP. Expect the smoothness of deep house, melodic instrumental hip hop production of the J Dilla creed along with tight jazz pieces.

The New Beginning LP showcases range and expertise from the off, exploding with pulsing discordant jazz in "Amaya's Voyage". Psychedelic g-funk is the MO of "Smoke One For Huckaby", before a B-side milieu of jazz and hip hop reminiscent of Guru's Jazzmatazz. The album settles into a deep groove across its C-side, the highlight of which is the percussive workout of "Underground Was Black", complemented delicately with dazed pads and buoyant but smokey lounge jazz sounds in "Cosmic Jazz". Off kilter hip hop shines through in "Last Time We Gonna Do This" and its eclectic sound palette, then we are blindsided by the heavy electro distortion of "The End Of The World". The record closes with a collaboration of the genres explored throughout, pieced together into the pumping "Lost People of Tron". The album feels like a lap of honour around all the influences in Byron The Aquarius' sound - it's yet another artistic triumph.

We're all unabashed fans of Steely Dan so we take Steely Dan covers seriously. Mainly "why bother"? You can't improve on perfection right? However, when we heard Deep Heat's scintillating version of "Do It Again" we changed our minds. A totally brilliant funkier version of Steely Dan's first-ever hit which stands loud and proud in re-interpreting this classic song into something much more appropriate for today's more sophisticated dance-floors.

Originally released on the tiny Detroit label, Cu-Wu, original copies soon ran out. There is currently just one available in the entire world for $1000 and that'll be gone in a blink. The smart money says hold on for a mint reissue on the original label.

A great socially-conscious flip too, the uptempo funky "She's A Junky (Who's To Blame)". All in all, this is a killer double-sider and will also appeal to Steely Dan collectors and enthusiasts across the board. Expect strong demand. I mean who wouldn't want this within their collection? Absolute banger. Both sides!

Blue Vinyl

After getting glimpses of Denyl Brook's production prowess in recent collaborations with the likes of Shall Not Fade family members THEOS and Romeo Louisa, we welcome him to the groove-focused, dancefloor-oriented Killer Cuts series to which he delivers 6 feel-good house bangers in his signature funk-infused style.

If groove is the word, then Denyl Brook is your man. An incredibly prolific producer, in the space of his relatively short career the Marseille-born Silver Steps Records boss has been responsible for an impressive output, released via his own imprint as well as labels such as Basement Discos and House Cookin' Records.

Leaping Tenacity EP into action is the sunshine-dipped, serotonin-saturated "Baby It's You" which comes complete with a skippy house beat and syrup-smooth vocal licks before "Take Me Higher" takes things deeper, cool oozing from its funk-infused bassline. "His Name" takes us right back to the dance floor, where we will remain firmly-footed for the next two up. Arpeggiating synth tickles and luscious pads illuminate the aptly-titled "Bliss" before "Hear Me" awakens us from our reverie with a hard-hitting pulse and low-frequency acid melody. Finally, "My Friend Barry" sees the EP at its most stripped-back - deep house in its purest form: meditative yet steeped in sex appeal.

After just over a year-long hiatus from the Earthly Tapes series – the 3rd Chapter is finally upon us. Offering more mind-altering tracks to the series, we welcome 6 new members to the Earthly Measures familia!

We kick things off with ‘Comets (part I & II)’, the first release by ORSO, the new musical project from Jean Dasso AKA Yeahman, stepping into club and drum music. Alongside faster rhythms, with influences of UK Break music, African dances and traditional instruments, we’re taken through a two-chapter journey led by modular melodic loops, old traditional voices samples and ORSO’s own recordings.

Up next is a trip to Argentina as we welcome Balam to the EM family, join him as he takes you on a daydream across the Latin-American rainforest where synthesizers and nature collide to create the perfect mix, guided by a voice from the deep jungle. ‘Ensueño’ is a dance-floor tool fitting for both the start and end of the night.

Japanese native Mamazu steps up the tempo for the third track ‘Tombi’. Transporting us to a hypnotic and hedonistic state as delightful aerophones sound with the exotic chant, delivering the feeling of a dry breeze from the unseen frontier. Another dance floor ripper!

The B-side starts with ‘Voces’, a track inspired by the music that Chilean artist DJ Raff’s mum listened to when he was a teenager making beats in his bedroom. He used to take her records and tapes to sample and make boom-bap beats. Voces is influenced by both Spanish and Chilean 70’s music, although deconstructed to make an amazingly catchy melody. .

Ditti takes us through an ever-twisting groove as we swim upstream, spot a wave and take off... welcome to ‘Poly Party’. The soundtrack to a carnivalesque funked out ballad on a Polynesian beach shifting between the rhythms of a guitar & riding the surf, cutting synths & dripping flows.

We wrap things up with ‘Small Town Rebellion’, a story told by Scottish producer Kusht – this downtempo chugger reflects the story of a young man in a dead-end town with no future. He needs to break his fate and carve his own path by revolting and manifesting his own destiny.