Cerca:soul control

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

* This series of remixes, stretching all the way back to 1993, continues to astound with its breadth of talent and epic scope, never repeating a remixer and always bringing new talent to the fore. In this case, the headline remix comes courtesy of the legendary NRG, one of the longest running acts in the scene. And on the very same vinyl, we have newcomer Simon Holmes remixing KFs original Future Primitive. Throw in a Dj Revive and a Sunny & Deck Hussy remix, and you have an EP for the ages….

Club / DJ Support
Billy Bunter, the Fat Controller, Juy Cunningham, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Acen, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

* Worldwide Epidemik lands on Knitebreed and fulfills every expectation one might have had. Already a well known name in the Jungle Techno circles, his carefully constructed soundscapes evoke both the deep past and the unknown future, with rolling beats and deep basslines that skate across your mind and reverberate in your soul.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Acen, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

In many ways, DJ Black Low's debut album, Uwami, shows the signs of an artist's first offering in any musical genre. Showcasing fluency in a broad range of styles and stuffing a number of ideas to the record's brim is the 20 year-old producer's attempt to both introduce himself to a wide listenership and stamp a recognizable sound in their minds. In other ways, somewhat out of the young South African producer's control, Uwami goes against the grain. The album comes at a time when South African electronic music is being fundamentally disrupted. Amapiano, the electronic music movement which first gained popularity with a small, core group of followers, now dominates the mainstream. Well-known and pervasive, amapiano borrows from a diverse palette of musical styles which are popular in South Africa's largely Black townshipsjazz, kwaito, dibacardi, deep and afro house among them. Instead of pandering to the seemingly insatiable local appetite and growing global penchant for amapiano though, on Uwami DJ Black Low seeks out the limits of the sound du jour and tries to stretch them. On his solo productions, he uses the samples and compositional norms that make amapiano hits the bedrock on which to experiment and improvise. With collaborators, DJ Black Low improvises within the boundaries of listener-friendly grooves. The sound he creates has foundations of what could easily have progressed into captivating amapiano songs on their own. But he uses improvised but structured electronic percussion and distortion sounds to drive the tracks in a particular direction. What remains is something like a deconstructed amapiano. For a young producer living in the townships of the greater Pitori area of South Africa's Gauteng province, there were few avenues available for Radebe to pursue a career in music. His trajectory shows the vulnerability of this pursuit. "I had started producing in 2013 and it so happened that I lost my equipment in 2014. I couldn't afford to buy equipment. In 2017, a friend of mine who had been making music found a job and decided to quit music. He gave me his equipment and I was able to start producing again. That's when I started getting back to it. I tried to pick up where I had left off, with hip hop and commercial house but I found that amapiano was the popular music. I liked it, so I started producing it."

Denn leichtfertig würde die amerikanische Rocksängerin solche Superlative wohl kaum in den Mund nehmen. Suzis Begeisterung für ihr neuestes Werk hat viele Gründe, genau genommen 12. Denn exakt ein Dutzend Songs befinden sich auf The Devil In Me, auf dem vom Opener/Titelsong bis zum finalen ‚Motor City Riders‘ jede Nummer ein echtes Highlight ist. Die Gründe für Suzis bemerkenswerte Kreativexplosion: einerseits der Lockdown, der sie ab Frühjahr 2020 von ihrem gewohnten Tourleben abhielt, andererseits die erneute Kooperation mit ihrem Sohn Richard Tuckey, die bereits auf dem Vorgänger No Control glänzend funktioniert hat. Suzi: „Ab Frühjahr 2020 wurden fast 100 meiner Shows gecancelt, und auch Richard wäre eigentlich mit seiner Band unterwegs gewesen, wenn nicht alle Konzerte abgesagt oder verschoben worden wären. Also sagte ich zu ihm: ‚Wir sollten die freie Zeit nutzen, um neue Songs zu schreiben und uns von dem inspirieren lassen, was sich in der Welt derzeit abspielt.‘ Ich wusste, dass Richard und ich ein tolles Team sind, denn No Control war ein riesiger Erfolg und eine für uns ganz besondere
Scheibe. Allerdings hatte ich nicht damit gerechnet, dass wir sie sogar noch übertreffen könnten. Doch alle, die The Devil In Me gehört haben, und diejenigen, die am Vorgängeralbum beteiligt waren, sagten uns: ‚Diese Scheibe ist noch stärker!‘“

Denn leichtfertig würde die amerikanische Rocksängerin solche Superlative wohl kaum in den Mund nehmen. Suzis Begeisterung für ihr neuestes Werk hat viele Gründe, genau genommen 12. Denn exakt ein Dutzend Songs befinden sich auf The Devil In Me, auf dem vom Opener/Titelsong bis zum finalen ‚Motor City Riders‘ jede Nummer ein echtes Highlight ist. Die Gründe für Suzis bemerkenswerte Kreativexplosion: einerseits der Lockdown, der sie ab Frühjahr 2020 von ihrem gewohnten Tourleben abhielt, andererseits die erneute Kooperation mit ihrem Sohn Richard Tuckey, die bereits auf dem Vorgänger No Control glänzend funktioniert hat. Suzi: „Ab Frühjahr 2020 wurden fast 100 meiner Shows gecancelt, und auch Richard wäre eigentlich mit seiner Band unterwegs gewesen, wenn nicht alle Konzerte abgesagt oder verschoben worden wären. Also sagte ich zu ihm: ‚Wir sollten die freie Zeit nutzen, um neue Songs zu schreiben und uns von dem inspirieren lassen, was sich in der Welt derzeit abspielt.‘ Ich wusste, dass Richard und ich ein tolles Team sind, denn No Control war ein riesiger Erfolg und eine für uns ganz besondere
Scheibe. Allerdings hatte ich nicht damit gerechnet, dass wir sie sogar noch übertreffen könnten. Doch alle, die The Devil In Me gehört haben, und diejenigen, die am Vorgängeralbum beteiligt waren, sagten uns: ‚Diese Scheibe ist noch stärker!‘“

Two classic cuts from the Presidentcatalogue.

Doris Willingham ‘You Can’t Do That’ - A big Northern floorfiller from a renowned soul backing singer who cut her own material later as Doris Duke.

Her only release under the Willingham name, originally out on the super cool UK Jay Boy imprint in 1968 (the label’s debut release - BOY1).

Produced by Bernard Purdie (Funky Donkey label) who was at the controls for a number of super rare Northern sides.

An early gem from the artist who ended up working with the legendary Swamp Dogg (Jerry Williams) charting with the ballad ‘To the Other Woman (I’m The Other Woman)’.

Pat Hervey With The Tiaras ‘ICan’t Get You Out Of My Mind’ - An anthemic, handclap-friendly gem that goes for anywhere between £50 to £100. Released on the UK President label from 1966.

Blue-eyed Canadian soul backed by black Canadian harmony group The Tiaras (not to be confused with the LA harmony outfit).

A slow burner that ramps up the horns and strings behind some funky guitar chops and Hervey’s euphoric vocal, her one-off stab at the soul charts guaranteeing obscurity and legendary status.

Lost Souls Of Saturn (Seth Troxler and Phil Moffa) launch their new label ‘Holoverse Research Labs’ as the hub for both LSOS’s audio transmissions and their adventures in media and technology.

The first release HRL 001 presents special interpretations of Lost Souls Of Saturn’s eponymous debut album by the legendary Pépé Bradock. ’Cycloned by Pépe Bradock’ finds Lost Souls of Saturn, in the words of Bradock, “Dreamed, Weighted and Micro-Waved”. This is the album shattered into pieces and brought back together into new forms as the parts and files fall. Deconstruction or reconstruction? It’s unclear. What’s tangible is that the new tracks are very special, with Pépé bringing his unique talents to the control room / operating table.

“Bouillabaisse From Space Remix” is the sound of Pepe singlehandedly launching the French space program to find lost dance floors deep in our own cerebral cortex. “Pacific Limbo Bonus Beat” channels more of the same. This is head music for the dance floor. No amateurs.

Further remixes of tracks from the ‘Lost Souls of Saturn’ album are to follow in March from Mathew Jonson, Freedom Engine and Carl Craig.

“Sex Miami”. Let those words melt into your soul like creamy, creamy pink ice cream in on your tongue. This album by Deux Control is a smooth genre crossover paradise of 808s, Yamaha keyboards and deep mesmerizing vocals side by side with more hardcore synth elements found in bands like DAF or Nitzer Ebb.

Deux control’s sound is a mix your favourite soundtracks of electronic music with a large portion of body synth. It is sexy, cool, and a bit frightening. The music on “Sex Miami” is familiar and goes out to all listeners of all ages but especially to those in the French/Italian disco fandom out there. This is the kind of music an eighties international business traveller would listen when kicking back and clubbing after landing a fat new contract.

Deux control is the act that got bumped from the Miami Vice soundtrack last minute because being a bit to edgy for mainstream USA. They are the group that Gorigio Moroder tried to copy when he wanted to update his sound. Deux Control are the new rulers of psychedelic electric body-disco!

Hunt & Gather’s debut vinyl release comes by way of Pezzner’s cryptic moniker “The Native Language”. Written as a quasi-homeless man living off the rich in the San Juan Islands who writes music once per year to suffice his own delusions.

Walking the streets in these damp, anxious days that all run together lately, I was approached by a man who would blend right into the neighborhood, layered in flannel and sweatshirts for sleeping.

Rough, but for his shoes. (Never cheap out on anything that separates you from the ground.) “Pezzner,” he called out, from a safe distance. “What did the mangrove say to the marauding hordes.” My soul left my body for a moment and my voice responded on its own. “Petrichor.”

He caught my eye, nodded, left a padded envelope on the ground and vanished. The envelope had passed through many hands, slipped into the bed of a ferry-bound truck, passed from one fellow traveler to another, stashed under the counters of anarchist bookstores, left tucked between books at Little Free Libraries. The greenish stains suggested that at one point it had been swum across a lake. Another DAT, contents encoded here unabridged, and a letter from someone who called himself The Sentinel.

The Vessel lived out his days on Shaw Island, under a canopy of trees that gets smaller and smaller every season. His condition the same, any electricity lit his brain on fire, could only bring himself to compose one day a year, only at night, out of sight. Until he met The Angel, an eccentric with means, who built for him a device.

A Faraday Cage to block all electromagnetic emissions. Burlap walls, for atmosphere. A system of pulleys and levers, wood and rope, all running into a box that sat outside. An entirely mechanical control surface. No electrons in here. The Vessel lit fires, watched the shadows dance, closed his eyes and disappeared into the motion for hours at a time. The Sentinel came every morning to change the tapes. The Angel watched and pondered, his plans unknown.

The box sat sealed, bare except for another set of ideograms, scratched in day by day over time. Inside, the usual bedroom-producer shit. Outside, the ideograms told a story, passed from the Vessel to the Sentinel and drawn by the Angel, of a man who became another creature. Alert to the lowest frequencies, feeling music deep in the soil below their feet. Music that brings messages, from distant friends, warning of new creatures and the danger they brought. Skin alive to the world, so sensitive it can detect the landing of a single fly. A mind capable of keeping a map of the world inside. A mind that can look in a mirror and see a soul it knows well. A mind that can grieve.

After processing its contents, I filled the envelope with granola bars and walked it down to the market. The clerk gave me a knowing look as I placed it on the counter behind a stack of pork rinds from the previous century. As I walked out, a young man carrying a plastic bag and wearing impeccable shoes walked in.

‘Pacific Kiss’ is the fourth album from Australian musician David West’s underground pop band, Rat Columns. It was engineered by Griffin Harrison and DW in New York City and Perth, and mixed by Mikey Young in Victoria. ‘Pacific Kiss’ sees Rat Columns plunging headfirst into an azure sea of power pop, rock’n’roll and indie. The tones are bright and optimistic, though fans of confusion and gloom will still find solace in the album’s darker moments, of which there are a few. Rat Columns emerged from San Francisco via Perth, Western Australia in the late 2000’s with the mope ’n’ jangle of their first self-titled cassette release, from which several tracks were drawn for their first vinyl release, a four-song 7” on the San Francisco based indie label, Smartguy Records. From that moment, DW and a constantly evolving troupe of friends and co-conspirators have forged a persistent trail of albums and EP’s on a number of interesting small labels such as RIP Society, Upset The Rhythm, Blackest Ever Black, Syncro-System, Adagio 830 and now the London-based Tough Love Records, who have also released many of David’s eponymous pop records. DW has also found time to play in a number of other interesting outfits, such as Rank/Xerox, Lace Curtain, Liberation, Scythe, Total Control and Burning Sensation over the years. ‘Pacific Kiss’ was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is DW, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. ‘Pacific Kiss’ is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows.

‘Pacific Kiss’ is the fourth album from Australian musician David West’s underground pop band, Rat Columns. It was engineered by Griffin Harrison and DW in New York City and Perth, and mixed by Mikey Young in Victoria. ‘Pacific Kiss’ sees Rat Columns plunging headfirst into an azure sea of power pop, rock’n’roll and indie. The tones are bright and optimistic, though fans of confusion and gloom will still find solace in the album’s darker moments, of which there are a few. Rat Columns emerged from San Francisco via Perth, Western Australia in the late 2000’s with the mope ’n’ jangle of their first self-titled cassette release, from which several tracks were drawn for their first vinyl release, a four-song 7” on the San Francisco based indie label, Smartguy Records. From that moment, DW and a constantly evolving troupe of friends and co-conspirators have forged a persistent trail of albums and EP’s on a number of interesting small labels such as RIP Society, Upset The Rhythm, Blackest Ever Black, Syncro-System, Adagio 830 and now the London-based Tough Love Records, who have also released many of David’s eponymous pop records. DW has also found time to play in a number of other interesting outfits, such as Rank/Xerox, Lace Curtain, Liberation, Scythe, Total Control and Burning Sensation over the years. ‘Pacific Kiss’ was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is DW, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. ‘Pacific Kiss’ is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows.

Columbus, Ohio’s Rudolph Johnson drew comparisons to John Coltrane during his career; like the jazz legend in his later years, Johnson eschewed drugs or alcohol and spent his time every day either meditating and rehearsing on his horn. You can definitely hear
a little bit of Coltrane in Johnson’s playing on this, his 1971 debut release for the Black Jazz label, the first of two he recorded for the
imprint and the first he recorded as a leader after some sideman work (most notably for organist Jimmy McGriff); his ability to explore the upper registers and overtones of his tenor sax while retaining control is quite striking. Of course, this being a Black Jazz release, along with the bebop sounds of “Sylvia Ann” and the mid-‘60s Blue Note stylings of “Sylvia Ann,” there’s the soul jazz of “Diswa” and the groove funk of “Devon Jean,” all played by, as is typical on Black Jazz releases, by top-notch sidemen including drummer Raymond Pounds, who’s layed
with everybody from Stevie Wonder to Pharoah Sanders to Bob Dylan, and pianist John Barnes, whose work is very familiar to Motown fans (Supremes, Temptations, Marvin Gaye). Bassist Reggie Jackson, who appeared on the Walter Bishop, Jr. Coral Keys record we previously released, rounds out the quartet. First vinyl reissue of another stellar Black Jazz release!

It’s about time that our partner in crime Lostsoundbytes joined us for a ride. Kept on the back burner for a while, the debut album by the Belgium-based producer and Vastechoses label honcho couldn’t have come out at a more convenient time. Keeping with the madness that we all have buried within ourselves, Degenerate Brain sounds like it’s been recorded and corrupted by some artificial intelligence in the grips of mental disorder and paranoia. Frantically exhibiting a wide stylistic palette by means of irradiated kicks laid out on top of distressed electronic modulations; worn out electro bangers and slo-mo keepsakes from imaginary performances to crooked minimal wave ramblings led by a man-machine flying off the handle. A seemingly meaningless stroll orchestrated by a mind that has lost control over some data dump coming in hot — which may fry your brain unless you manage to pull yourself out before it’s too late.

“The Vale” is in immersive electronic album of dark soundtrack work. It’s the first of several Everyday Dust releases scheduled for Castles in Space in 2021.

Everyday Dust is RJ McConnell. Based in Scotland, RJ ditched piano lessons when he realised I had no interest in being an instrumentalist. Instead he wanted to create his own musical works from the ground up. He goes on, “I was much happier working my way through music theory books on my own and applying my learning to my own music. We had a little home studio when I was a child. My Dad was also a musician and was involved in local amateur theatre where he prepared and operated all the sound cues on reel to reel tape. So from an early age I was messing around with tape machines, making tape loops and recording music. For years I tried to make the most interesting tones I could from a Yamaha home keyboard by passing it through my Dad’s guitar pedals, or recording to tape and playing it back at different speeds etc. My first proper synth was the Roland SH101.” He went on to study music and sound for theatre and worked for many years as a theatre composer before branching into larger events and eventually film and documentary work.

The Vale story starts in 2018. RJ again, “I was brought in as composer for an independent horror short that was being filmed in Istanbul. The film was a vampire movie, very atmospheric and beautifully shot. I was aware of being a Scottish composer on a Turkish film and therefore didn’t want to attempt in any way to make anything that sounded traditionally Turkish. I wanted to represent the idea of these ancient beings who had existed in one of the oldest cities in the world for centuries. I wondered how I could imply this “ancient” world with the instruments I had to hand. I recorded various old metal whistles, which were slowed right down to become eerie arcane horn blasts that sounded like they had come from another time. I also recorded lots of melodica, which was again slowed down to sound like wheezing old harmonium drones. I spent another day recording inside an old piano, plucking individual strings and also hammering them percussively with wooden beaters. Using synthesizers and effects as the “glue” to bring these sounds together I started to work on the cues for the film. I had scored most of the film by the time I heard it was being cancelled. The concept and story had been taken over by a streaming site who wanted to make it into a series - with a drastically different tone and style.

“Later that same year I had worked on a project that incorporated the folklore of a celtic water sprite who kept the waterfalls and streams running smoothly so they could turn the mills of the local village. In return the villagers would bring the water sprite bannocks (Scottish flatbreads) each day. I started to daydream about a darker, Lovecraftian twist on this story. Some Ancient One dwelling in the forests and controlling the water - the very life essence of the village - in return for offerings of the soul. The concept was filed away in the back of my mind for some months.

“The following year I was on a flight to visit my friend in Bodrum. He had been the producer and editor on the original disbanded Vampire film, and I found myself thinking about the project again. I wondered if the sound cue files were still on my laptop, which they were. It had been a year since I’d even heard them. Hearing the eldritch folk-tinged sounds of the whistles and plucked strings my mind instantly returned to the idea of the Lovecraftian folk horror story. I started jotting down notes and musical ideas and by the time I landed in Bodrum I already had the album title - The Vale. Having the album concept and prototype ideas to work with was a huge head start in making the album. Although all of the original cues were so dramatically developed and transformed that they really just served as the initial clay on the wheel.

“I used a Doepfer A100 modular synth to create the animalistic yelps, conches and horns that were improvised over the original cues as a response to the arcane “folk” world of the acoustic instruments. This half-acoustic half-modular landscape was the sonic scene-setter I needed to move onto the composition and musical journey of the album. I composed and developed most of the musical parts on an Oberheim Matrix 6 synthesizer. However all the percussion, rhythmic sequences and ornamental synth sounds were created from improvised modular sessions multitrack recorded. A lot of editing later, the soundtrack to the movie in my mind was finally there.

Casbah 73 makes his Glitterbox Recordings debut with an insatiably funky slice of disco soul ‘Love Saves The Day’. Driven by a soul-filled vocal hook from Angela Goode, this timeless jam’s authenticity lies in its rawness, sounding like it’s been ripped straight from a 1970s dancefloor while maintaining a freshness for today’s listeners. This special 12” delivery includes two stellar re-works, opening with master of the disco edit Danny Krivit’s funk-fuelled mix that smacks with New York City flare, bubbling keys and slap bass breakdowns to boot. The snapping Percussion Jam closes out the A-Side, before Chicago’s Rahaan takes control on the flip, taking the vintage sounding original and transforming it into a pumping, modern disco cut. Finally Casbah 73’s original rounds off the 12”, completing this package that is a must have for any discerning disco DJ.

Ending the season on a breezy note, our new VA 'Boogie Angst, Edition Three' delivers the ideal wares for a buoyant last stretch to an otherwise trying year. Spanning a brightly hued kaleidoscope of pop-infused house and mellifluous boogie, Edition Three pushes forth a selection of our choicest grooves from the past year as well as a batch of unheard and exclusive gems to keep you in the warmest, most positive mindset for the winter to come. Through fifteen cuts covering a wide but cohesive spectrum of balmy sonics, the compilation once again offers a much spitting image of what the label's been up to in recent times.

HIGH HØØPS playful revamp of Secret Rendezvous' fresher-than-fresh RnB joint 'Back In The Day' sets the tone right away, followed closely by Moods & Two Another's lush coastal disco number 'Control' and Snacks & Eric Biddines neo-big band style house treat 'All Night' - a singular chunk of ballroom bop tinged with soulful blues tropes and Caribbean melodic accents, sure to have the dancers jiving without further ado.

Here comes Inkswel's synth-splattered mix of 8-bit pixelation and Run DMC-esque hip-hop 'Too Late' (ft. Stan Smith) and Saux's dream folk excursion 'You're Not Wrong'. A highlight of the package and mesmerizing piece of wistful, kosmische-laced disco, Kraak & Smaak 'Centro De Placer' ushers us in a realm of velveteen ingenuousness and sun-streaked utopianism, steering us away from the tar-scented gloom of soulless metropolises into an all engulfing prism of hope, love and grace.

Utrecht-based vibist Feiertag punches the clock with 'Encino Boogie' - a four minute-odd slab of buoyant funk sprinkled with laid-back house tropes and brass-heavy, loungey dub tonalities, perfect for drawing out the pleasure of dreamlike summer boogie sessions. Clear your mind and shuffle your feet to that solar-powered mix of fevered drums, slap bass and sensually aqueous groove.

Next, Kraak & Smaak's add their easily identifiable, almost Beck-ian spin to Jean Tonique's lysergic pop hit-en-puissance 'Too Bad' whilst Bondax lo-slung remix of Moods' sense-awakening soul tune 'Slow Down' (ft. Damon Trueitt) eases you into a place of inviting suavity.

Inkswel's funky robot chugger 'The People' (ft. Dave Aju) picks up the torch next, followed by Flevans, your go-to man for proper electroid floor traction. The UK-based producer has you covered with 'Everything I See' - a surefire, bass-driven roller inbound for severe club impact with its infectious mix of fiery riffs, mangled female vox slivers and racing groove. Next, Secret Rendezvous' sun-beamy ballad 'Your Love' takes us on a gently bouncy, romantic ride.

Last but not least, Vhyce's smooth hybrid of synth-strewn RnB and lo-velocity funk 'Lose Our Minds' (ft. Yves Paquet), David Harks' metronomic disco-pop anthem 'Twice' and Saux's sleek-textured synthpop exponent 'Night Is All There Is' round off the package on a typically smooth and vibrant sentimental touch.

For the wax heads out there, a limited 9-track vinyl sampler will be issued alongside the digital compilation, featuring some of the tracks on the album + a few alternative versions, and furthermore a vinyl exclusive of Kraak & Smaak's remix of Izo FitzRoy's 'When The Wires are Down', initially released only digitally via Jalapeño Records.








h 08 | Inkswel The People (Cody Currie Remix) feat Dave Aju
feat Wolfgang Valbrun

Previously Unreleased material recorded in 1979 at Allen Toussaint's legendary Sea-Saint Recording Studio in New Orleans, LA.

Freaky With You is a Six-and-a-half minute Psychedelic Disco Funk excursion taking you on a wild mojo trip with a four on the floor backbeat and extended conga breakdown peppered with some New Orleans Voodoo that reaches for the Bondye Celestial Heavens.

On the B-Side, Welcome To My World is a Modern Soul Steppers masterpiece. A version was also recorded by Joe Chopper for the Lanor Records label.

James Dumaine remembers the studio session well. After having oral surgery that morning, a grotesque, theatre of the absurd incident followed causing him to bleed onto the microphone as he was singing. That combined with the miscommunication with the audio engineer to watch the volume levels on his new synthesizer: The Engineer decided not to take heed to the warning… Half way into the recording all the band could see from the other side of the glass were heads frantically rushing to the mixing board. The synthesizer levels had caused the monitors in the control room to blow up. Superior Elevation wasn't invited back to record at Sea-Saint. 40 years later, with all that chaos, hoodoo and gris-gris enveloped into the magnetic tape, it magically survived the catastrophic 2005 floods during Hurricane Katrina and ended up in the hands of Mike Nishita along with many other Reel to Reel Tapes of Allen Toussaints' masters of The Meters albums he produced and recorded. It's available now, preserved with Family Groove Records.

Amsterdam based Spill Gold ( who previously released on Portland's Beacon Sound) with a jaunty 7 track mini album for Knekelhuis. sleeve art from Jacob Hoving.

The label say:
"The summer breeze has gradually turned into a cold wind and the trees showcase their typical variegated color palette; autumn has clearly arrived in all its golden glory, a transition exemplary for Spill Gold’s work. The Amsterdam duo’s music is every bit as colorful and moving as its seasonal counterpart, where one moment a cold and stormy wind swarms the air and other times calm and stillness prevail.

On Highway Hypnosis, their first album on vinyl, Spill Gold masterfully juxtaposes darkness and light, playfulness and control, enhancing the transcendental character of the material at hand. Based on strong pop structures, the songwriting here traverses a world of Krautrock and cosmic influences at once catchy and alienating, opening the possibility for catharsis.

They’re a wonderful addition to the versatile nature of Knekelhuis. And they’re crazy good live as well."

Fischgeist was recorded in a former water tank in Berlin-Prenzlauer Berg in August 2019. The nineteenth-century brick building consists of five layered circles, with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it’s humid and cold, the temperature always around 8–10 C°. The building’s acoustics produce a long reverberation that lasts up to 20 seconds.

‘One day between recording sessions, a man, a passerby, wanted to look inside the building. He told me that it used to be full of fish. For a second I imagined a huge round aquarium with loads of fish swimming around in circles. Then I realized that he meant dead fish were kept there, to be sold on markets during the GDR era. But the image of fish swimming in the space stayed with me.’

In conversation with the space of the water tank, Tomoko Sauvage searches beyond the limits of her self-invented ‘natural synthesizers’: porcelain and glass bowls, filled with water and amplified with hydrophones.

While she continues to develop some of the classic techniques heard on her previous album Musique Hydromantique (Shelter Press, 2017) – hydrophonic feedback (Kinetosis Study) and ‘fortune biscuits’ (porous pieces of terracotta that emit tiny singing bubbles) (Deluge) – here new elements are combined with delicate gestures to make curious noises: stroking bowls’ surfaces to imitate the voices of sea mammals (Metamorphosis), drawing dots and circles by rubbing stones against stones underwater (Exit) … The underwater amplification of quasi-inaudible sound is even more magnified in the air by the echo of the water tank. Not only tiny bubbles, but also micro-movements of the bones and veins of the hand holding the sonorous objects in the water, are intensely amplified – sounding like a tempest on the opening Deluge. Sauvage’s longtime research into hydrophonic feedback develops with her new obsession with natural harmonics and sympathetic resonance. In Flying Vessels, the percussive notes of struck bowls resonate and turn into feedback loops before decaying, fueled by electric signal gain. Kinetosis Study is a sonic etude on fluid dynamics – the flow velocity, pressure and density of manually shaped water waves directly controlling the aquatic synthesizer’s parameters.

August, when the mid-summer Ghost Festival is held, is traditionally known as the Ghost Month throughout East Asia. The spirits of the dead visit their living families, who welcome them with feasts, dancing and music. Miniature lantern-laden boats are released in rivers, to help lost ghosts find their way home.

Animated by formless matter – water, electricity, sound – Fischgeist celebrates a phantasmagoric journey, as the souls of aquatic lifeforms find their way out of the labyrinth of the water tank.

Credits
Composed, performed and mixed by Tomoko Sauvage
Recorded and produced by bohemian drips prior to ‘Speicher’ festival in Berlin, August 2019 (binaural recording with a KU-100 dummy head microphone)
Mastered by Andreas Kauffelt in Berlin
Cover drawings by Baien Mōri (1798-1851)
© Tomoko Sauvage and bohemian drips – all rights reserved

Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.

3LP + MP3

Soul Jazz Records' new album 'Kaleidoscope - New Spirits Known and Unknown' brings together many of the ground-breaking artists involved in the new jazz scene that has developed in the UK over the last few years. Featured artists include Matthew Halsall, Yazmin Lacey, Ill Considered, Tenderlonious, Theon Cross, Emma-Jean Thackray and many, many more in this ground-breaking release. As well as sharing a pioneering spirit in these new artists' approach to frontier-crossing musical boundaries, a further theme of this album is that many also share a determination to independent practices - and most of these artists' recordings featured here are either self-published or released on independent labels. While the attention of this new wave of jazz artists up until now has been Londonbased, this album shows how this movement is spread across the whole of Britain (and indeed beyond). 'Kaleidoscope - New Spirits Known and Unknown' shows that while there is commonality in these artists' approach to music, there is a wide variety of styles - from deep spiritual jazz, electronic experimentalisation, punk-edged funk, uplifting modal righteousness, deep soulful vocals and much more.

repress

One of the rare outing's of Dopplereffekt , the beautiful abstract and hypnotizing "Linear Accelerator" album is getting a proper double vinyl treatment on WeMe records after the initial cd only release on Gigolo in 2003. Linear Accelerator is a continuation of Der Zyklus's Biometry album with its abstract hypnotizing soundscapes and its controled sterile atmopshere. Tracks like the slowly unfolding 21 minute long 'Photo Injector' are unique and all the 6 tracks all are stunning beauties with Myon-Neutrino bridging the gap between the old Dopplereffekt works and the further evolved outings on this album that garantuee a long and tranquilizing trip. Inspired by the high energy particle psychics being explored at DESY, Dopplereffekt appear to be similarly pulling the very fabric of their sounds apart and thinking on a subatomic level. 17 years after its initial release this is still avant garde and one of those few releases that captured the true meaning of techno! Groundbreaking, Astounding, Alienating, but always with a soul!

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. A supremely talented multi-instrumentalist and composer, Irvine had a musical vision that was unerringly soulful, spiritual, and funky. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. For fans of funk, soul and jazz, it doesn’t get much better than this 1973 classic.

a A1. Time Capsule - Electric Piano, Narrator Recitation – Weldon Irvine

Control is the incredible debut album from Sydney based vocalist Natalie Slade, produced by Hiatus Kaiyote's Simon Mavin and featuring contributions from other members of the Grammy Nominated group.

Combining Soul, Jazz, Folk and RnB, Natalie's timeless vocals dazzle across 10 stunning tracks, perfectly complimented by rich, live instrumentation and Mavin's vibrant production. The album is classic to its core, whilst taking a fresh and energetic approach to a long tradition of Soul/RnB long players. Familiar broken rhythms and jazz heavy motifs, notorious with Hiatus Kaiyote's writing and arrangement style are present, reminding us throughout that we are in the hands of true masters. The result is a kaleidoscopic reimagining of sounds and styles from an exciting new vocal talent.

Recording began after a chance encounter between Natalie and the Hiatus keys player Simon Mavin, resulting in a writing session that quickly escalated into a full blown album project. The chemistry was clear and the creativity flowed. Spontaneous recording sessions ensued, with visitors to the studio jumping in to play on tracks, the levels of musicianship on the album never fall short of stunning and Natalie's poetic and enchanting song writing shines throughout.

The album kicks off with an energetic flash on 'Cloud Cover', an arpeggiating bass line bubbles over skipping drums and aquatic synths. The title track 'Control' puts it's foot on the gas with a driving synth bass, broken beats and soaring vocals. 'Colour' see's Natalie pouring out her heart to the universe over a fluttering mellotron whilst the beautiful 'There Is Light In Everything' gives her a chance to show off her vocal prowess. Control is a truly unique and dynamic debut album from two masters of their craft, we hope you enjoy it just as much as we do

Recommend for fans of Hiatus Kaiyote, Rosin Murphy, Fatima, Yasmin Lacey, Khadja Bonet.

Carving out an enviable reputation across the globe for his distinctive and highly personal brand of House music, Kiko Navarro's voyage of sonic discovery has been going strong for almost three decades now. From London to the Far East, Kiko has travelled far and wide with his music, embracing sounds from each continent as he goes. Kiko's new album, Afroterraneo- also named after his music label- defines the sound of his home. The album incorporates sounds touched by the Mediterranean Sea, drawing influences from Europe, Africa and his roots in the Balearic Islands. Afroterraneo is all about fusion. It includes Afro-Cuban songs like "Okere", "Karabali" and "Ekobio Monina", Midwest-African flavour on "Ihabogi Rawaly" and "Beréde", Flamenco with "La Fatiga", Balearic emotions with maestro Joan Bibiloni on "El Salto Del Martin" and "Vida", South African vibes on "Olwakhuthando", Afro Mbira lines with European TB303 acid blips on "Cacao Ceremony" and it all ends with his own tribute to his mother on "Para Mama". Born on Mallorca, Kiko's sound reflects the sun-drenched, slow living atmosphere of the Balearic island he still calls home. Obsessed from an early age with the more soulful side of US House music, Navarro's DJ skills soon attracted the attention of nightlife behemoth Pacha who offered him club residencies both in Palma and in Ibiza. Next came a monthly gig at Space Ibiza and the rest, as they say, is history. A true Renaissance Man; now also a family man, today's Kiko Navarro is perhaps even more focused and dedicated to his life in music than ever before. An album tour this year will see him play DJ sets in Italy, Bulgaria, Macedonia, Greece, Japan, South Korea, China with many more to be confirmed. Whether in the studio crafting records or in the club controlling the dance-floor, Kiko's musical mission has become the habit of a lifetime.

We left them to take over,
to brake hopes,
to snatch any desire.

As distorted images on a screen,
They changed the balances of our lives.

They imposed false myths in our believes,
In our most intimate thoughts,
In the semantics of our meditations.

They chose the path of everyone,
As androids, they conducted us to the implosion,
Of souls, of rigid sentiments,
Of vitreous look.

They took the control of each decision,
Changing the order of priorities,
Changing the given meaning,
The significant and the significance.

They left us weak
In the bodies, in the spirits
On a slimy ground,
Sliding towards the loss of consciousness
Towards the end of our existences.

We pass away in our silent souls,
In a hibernation without return

- UTOPIAN SOUL -

"Available again for the first time since original release in 1974, Outernational Sounds proudly presents one of the deepest custom press jazz recordings of all – Jaman’s spiritualised and funky Sweet Heritage.

The history of jazz is often told as though it was principally a history of releases and recordings. On those terms, it’s easy to mistake a small recorded footprint for obscurity or silence. But that is to put the cart before the horse, for the true history of the jazz is the story of the music as it was played night after night in the clubs, bars, concert halls and backrooms of cities and towns across America and the world. Only a tiny fraction of this living tradition ever makes it onto a recording. The far greater part is embodied in the musicians and their music as they play it and live it. And even though 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist and educator better known as Jaman has undoubtedly lived it.

Brought up in Buffalo, New York, Jaman studied classical piano before beginning formal jazz studies under greats including Earl Bostic and Horace Parlan. Quickly becoming a respected regular on the club scene in Buffalo, Jaman held down innumerable residencies and worked with top local musicians – one of his early trios included the renowned bassist John Heard and drummer Clarence Becton, both of whom were poached one night by a visiting Jon Hendricks; sometime Sun Ra Arkestra bassist Juini Booth and regular Ahmad Jamal sideman Sabu Adeyola (also of Kamal & The Brothers) have graced his groups too. At famous night spots all over Buffalo’s East Side and on excursions to Manhattan’s storied jazz clubs, Jaman has shared the stage with some of the most illustrious names in jazz and blues: Big Joe Turner, Muddy Waters, Joe Henderson, Ruth Brown, Frank Morgan, Woody Shaw, Sonny Stitt, and too many others to mention. His eponymous group, Jaman, was formed in 1970; they toured the US and Canada steadily in the years that followed. He became, in short, one of Buffalo’s true jazz stalwarts, and so he remains.

But despite a life lived deep within the music, Jaman only recorded a single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group playing a mixture of covers and originals. The whole LP showcases an ensemble in compete control, and with the flying, spiritual sound of ‘Free Will’ and the upful, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since become a legendary collector’s classic. Unavailable since its original issue, Outernational Sounds is proud to present Jaman’s Sweet Heritage – the soulful and spiritualised sounds of a master at work."

Mirror Glaze Lavish” is Marc’s latest effort in trying to depict his cynical and disillusioned view of the present-day music scene, seen through a sonic magnifier that emphasizes its greatest controversies, by juxtaposing different electronic languages as a challenge to the current levelling artistic trends. The artist personality is nullified, standardized to a state of placid non-critical thinking. Everyday’s emptiness emerges as the structure of reality and only the cracks in it still lead to life. “Great souls suffer in silence”, once said Friedrich Schiller, but what if silence becomes an audible, danceable image? As if all these electro cuts, differently permeated with a balanced mix of playful darkness, were populated by eerie animals that cannot find peace with their habitat and keep dancing relentlessly until the very end of their miserable existence. Seen in this context, each of Marc’s tracks must be interpreted as an irreverent and poignant act of self-assertion vis-à-vis his contemporaries. Morah’s reinterpretation of “Celexxa” adds value to the original track, taking us for a dirty ride on a psycho-electro-charged rollercoaster.

“Media Burn” is the debut EP by TOTEM – 4 succinct slabs of industrial electronics and rhythmic noise forged in the spirit of hardcore punk. The project is loosely based on themes of media consumption, symbolism, illusions, and control. The artist embraces an austere process born of limited means: samples mangled beyond recognition and rearranged according to some obscure logic.

The results are self-described as “industrial skronk” – sculptures made entirely from audio debris that had another life, now twisted and repurposed by an unseen hand into something new and unfamiliar.

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

The Death To Digital series comes to a (perhaps temporary) end with volume 5. And what a way to end, with four slamming tracks that maintain the original concept of diversity in style while staying true to the Kniteforce ethos of, well diversity and style!”. Sunny & Deck Hussy drop a traditional styles beakbeat piano anthem, while Shadowplay brings something that is not quite everything. Abyss shocks us all by making something a little happier than usual while retaining the heaviest of beats and bass, and Idealz brings a rolling, thoughtful d’n’b tinges lick to close the series. Big stuff.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

With such a raft of quality music coming across the Summer from NuNorthern Soul, we thought we would put together an EP of some of the tracks featuring across the upcoming months...

We have taken our favourite tracks from various digital releases and present them on one vinyl 12" EP On the A side we take Nick J Smith's 'Waves Take Hold' from the Waves Take Control EP'
'Waves Take Hold', is a kaleidoscopic, life-affirming exercise in late 1980's style Italian Dream House, that's so warm and rush-inducing that it's likely to get the hairs on the back of your neck standing to attention.
Full of ricocheting drum machine hits, sun-bright lead lines, elongated chords and rich bass, it sounds like it was tailor-made to soundtrack sunrise in Rimini...

Bonnie & Klein 'Ocean Leap' taken from the Ocean Leap EP
There's a deeper and dreamier feel to the 'Ocean Leap' track, whose bubbly melodic motifs and synthesizer panpipe flourishes offer subtle nods towards 1980's Greek new age electronic composers such as Vangelis Katsoulis amd Dimitris Petsatakis.
Bonnie & Klein's synthesizer-heavy melodiousness comes accompanied by dub disco strength bass and undulating, off-kilter drums, but retains the rush-inducing bliss associated with the pioneering work of their Greek predecessors.

AA is given up to the 10 minute + track from Mirage: 'Endless Ocean' taken from their Reflections of the Sun EP.

'Endless Ocean' is a slowly building masterpiece. After a hushed, atmospheric opening, the track bubbles away on waves of hazy bongo beats, lapping water sounds and seductive chords before rushing skywards in a swarming swirl of trance-style synthesizer lead lines, echoing electronics and picturesque piano motifs.

DJ Pierre’s legendary Jack Trax Records returns with a delicious set of raw acid tracks from Finnish producer Type-303, who made his 12” wax debut on Posthuman’s I Love Acid imprint, with a release on Lobster-distributed ProForm this past fall.

“What is the Time?” kicks things off with a jacking beat reminiscent of the classic Chicago acid house sound, answering the question with “it’s time to jack”.

Next up is “Sound of Future”, alluding to Phuture’s classic “Acid Track” with a tough, driven beat and acid line that builds up to a psychedelic frenzy of claps, snares, and rides.

The title track, “Ghost in the 303”, follows suit with more of Type-303’s punchy percussion, interjected by moments of frenzied 16th claps, paired with an eerie, otherworldly pad taking the listener deep into the soul of the machine, the classic TB-303.

Last is “Control”—filled with dreamy yet slightly dissonant pads and a wispy breakbeat-inspired snare line that provides a deep, introspective conclusion to this acid laced journey.

Supported by Villalobos, Dorian Paic, Mattia Trani, DJ Tennis, Verrina & Ventura , Giorgia Angiuli, Carola Pisaturo, Julina Perez
There are people who place their soul at a border between two worlds that are completely different one from the other.
Giulio Paternò has always split his heart in two halves: one beating for Pink Floyd's, Dire Straits' and Deep Purple's rock; the other for an electronic sound influenced by the likes of John Talabot, Nicolas Jaar or David August.The final result by mixing these two different souls is all channeled into his project Swoosh, where house and techno meet the psychedelic sound from the '70s. So here is a captivating and a magnetic sound which is shaped exclusively by a live act with Ableton, a Gibson Les Paul and various controllers.Swoosh's peculiarity drew the attention of top national venues and festivals such as Tenax in Florence, Circolo degli Illuminati in Rome, or Amore and Spring Attitude Festivals.By Spring 2016 Swoosh will be releasing his first EP "Over and Above" with Autum Records, a label based in Rome and New York.Feedback:> DJ TENNIS: Great record, Swoosh is a producer to keep watching... / Gran disco, Swoosh è un producer da tenere sott'occhio...> VERRINA & VENTURA: Great, the slow one is fantastic! / Complimenti, traccia lenta fantastica!
> CAROLA PISATURO: Liked it so much. / Mi piace moltissimo.
> GIORGIA ANGIULI: I really enjoyed the whole EP, tracks are so stilish! / Mi piace molto l'EP, tracce super stilose!> JULIAN PEREZ: Good listening, a good listening. / Un ascolto piacevole > MATTIA TRANI:above mi piace moltissimo bell'atmosfera!

* Remix Records is back and has a new philosophy – a way to showcase some of the biggest talent in the business when they want to flex their old school muscles. And it starts right here with 3 superb tunes from legendary producer Al Storm and his partner in crime Diakronik. All three tracks perfectly convey the original old school sound but with smooth modern production, giving them a depth and character all of their own. Ranging in speeds from 140bpm to 160bpm, these 3 tracks cover the best of the music at the peak of the euphoric rave years…

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Matt Edwards launches Stranger in The Night with his first solo material since 2017.
The Rekids offshoot will release regular music by four artists, namely Radio Slave, King
Britt, Anthony Rother and Fred P, who will each drop three EPs over the next year.

'With Rekids being 100% focused on releasing music for dance floors I felt the need to
create a new platform to explore a wider musical vision and invite some of my all-time
electronic musical heroes to be a part of the series,' says Matt Edwards.

Both numbers near the 12-minute mark but each track portrays a different aesthetic.
Opening with precision drums and crystalline notes, 'Ground Control' makes a nod
towards the hi-tech soul sound of Detroit and drives forward using a sultry bassline, erratic
chords and the occasional icy stab as an array of contrasting sounds operate in unison.

On the flip, a syncopated rhythm lays the foundation for 'Last Communication' whilst a
tantalising melody joins poignant synths, constructing a profound and hypnotising journey.

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

Look! Ultra rare and super dope Disco-Boogie reissue alert!

That's right, Distinction's 1982 jammer 'That's the way I like it' is back! Fully licensed in conjunction with the rights holders and remastered for 2018 by Above Board distribution. This one's long been at the top of the wants lists of DJ's and dancers for ages, a masterclass in UK Boogie flavour brought to you by the production and writing prowess of Roy Carter who was a member of the UK's legendary Soul and Funk legends Heatwave and who worked extensively with Central Line, Junior Giscombe, Dee C. Lee and many many more throughout his long career. Pretty much all of Distinction's output is tough to find with the majority appearing on tiny labels, and second hand prices for these gems are always on the high side with this particular 12" being one of the most sought after. This is a proper and full reproduction of the original Hansa 12" from 1982 with the added bonus of the 7" mixes being included of both 'That's the way I like it' and b-side winner 'Looking for love'. This one has been booted before with severely lacking quality control, but we are proud to say this reissue has been fully licensed and made using the original tapes with all remastering handled lovingly by Optimum Mastering, Bristol, UK. This is an unmissable reissue if you dig this sound, don't miss out! Pure fire.

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.

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

Brooklyn based, DJ Monchan, steps up to perform some surgical edit wizardy on four mouth-watering tracks for the ever-dependable Razor-N-Tape.

'Reaction Control' kicks things off with a joyous disco gem, DJ Monchan extending and echoing those killer groovers to create a whirlwind of dancefloor delight. Next up, 'Dance It All Out' has a touch of the exotic highlife sound to it but reworked into a DJ friendly, irresistibly bouncing jam.

Flip it and it's back to the late-night NYC soirees of the 70's with 'Can't Promise' channelling that pure unadulterated fun into an ethereal edit of magnetic proportions. Taking the final slot of RNT042 'Get Down With Your Love' closes out proceedings with a silky smooth soulful heater.

They say we are a product of our environment, you are what you eat and you reap what you sow. But what happens when you can no longerdig the earth and your food is toxic Amselcom has forever been near the forefront of change, exposing new ideas and giving insight through music and creativity. Our goal was always to bring the world closer by removing barriers and letting sounds and rhythm demonstrate humanity's true, loving nature. That is why a transformation has taken place and with this latest release we hope to give back and contribute without the shallow, meaningless compensation that feeds the music industry.
Geplantes Nichtstun demonstrates this concept perfectly, by saying it is time to remove ourselves from the machine and make our own way, in our own time. These tracks look to offer introspective that can only be found after eliminating barriers like money and fame. Taking time for idleness lets us forget about the things that try and control our lives, a necessary respite in a time of increasing global noise.Tracks like Opak offer the perfect accompaniment to a quiet time of soulful reflection and Mario Wagner's wonderful Control Room image brings us the idea of self direction and taking charge of your own destiny... one rest at a time.

Parisian imprint Hard Beach Entertainment follow up some great releases by Corporation Mindfuck, DJ SCSI and Bastien Carrara with some old-school electro vibes by the mysterious Reflective Souls. This is their second release for the label. Beginning in bold fashion with the brooding retro bounce of "Doom 2020" on the A side, but it's on the flip where this 12" really shines. The evocative Motor City aesthetic of "G Club Live" was a particular highlight, while the tough electro-bass of "Body Control" has a wicked groove that's more than capable of getting some heads-down moments on the dancefloor.

Silicone Soul welcome the return of old friend Justin Robertson as he brings his much- loved Deadstock 33s project back to Darkroom Dubs. Last spotted on the label only a matter of weeks ago with 'Infinite Interchange' on the 'Darkroom Dubs Presents Summer Love' collection, here he builds on the momentum with two more singular missions deep into the timeless analogue abyss. What's more, they come covered with a print of one of Justin's very own hand-drawn pieces. 'Dr. Spectro On The Frontier' marks the start of this new Deadstock trip. Celebrating the lesser spotted DC super villain who could control people's emotions with a brazen line or two of sinewy acid; what starts off dark and gnarly gradually unfolds into a much more emotional narrative. Watch out for the harmonic riff that rekindles feels of raving fields and a salvo of chords towards the climax that genuinely will control your emotions.'The Music Is Madness (To Those Who Cannot Hear It)', meanwhile, is more than just a poetic title. Already a summer anthem at A Love From Outer Space, it's a roomy, cosmic affair that's laced with layers of trippy textures and chugs at a cool 120. It's one of Justin's classic signature smouldering sessions; what ostensibly seems forlorn and introspective is actually coded with deep hope and positivity. You'd be mad not to hear it.You'd be mad not to stay tuned too... For the first time in Darkroom Dubs history, this release and all this year's vinyl dispatches will be released digitally as part of an end of year compilation, 'Tales From Underground Vol. 1' and will also feature an exclusive Silicone Soul remix of Rigopolar & Cannibal Ink's 'Thousand Years Before'. And to round the year off The long-awaited new single from Silicone Soul themselves.

As we celebrate the 25th year of V Recordings, it couldn't be a better time for another release from DJ Patife & Vangeliez. One of the OG's of Brazilian D&B Patife teams up with fellow countryman Vangeliez (formerly one half of Human Factor) once again. Fresh from their last single, as well as features on last year's very well received 'Viva Brazil' compilation released in conjunction with SUNANDBASS, this duo has definitely found their own lane!

* On 'Living Together' they link up with two of the most recognizable voices in the D&B, MC Fats and Stamina MC to create an uplifting summer anthem, that spreads the positivity of music across the globe. These two vocalists need little introduction, but in case you don't know, they are behind some of the most seminal moments in our genre's history, classics like Calibre's 'Drop It Down' , DJ Hype's 'Peace, Love & Unity, DJ Marky & XRS's 'LK', D Kay's 'Barcelona' and so the list could go on... Basically with the coming together of these four names you're in safe hands! 'On The Floor' continues to push a euphoric feeling, but adapts a sub low bass that could tear through any system!

* Teaming up with Manchester's finest for vocals on 'Ain't That Bad', the tracks follow in the vein of their previous collaboration on Soul-R, and DRS delivers a stellar vocal performance that brings the track to life, and is again full of good vibes, definitely something you can never have enough of! 'Unexpected' is dripping with original liquid vibes - think Carlito & Addiction, Calibre, D Bridge Big Bud, Solid State - with a 21st-century twist - one for the those who like it deep.

* Drum & Bass as a genre now has so many different sounds and styles, but one sound that has ridden the waves of fashions and emerged as timeless is on display here as the duo deliver 100% organic, funk-filled Drum & Bass music for the soul.

* LABEL MARKETING: Features on V Recordings Podcast, Dedicated newsletter to 85,000 V Recordings subscribers. 80,000+ Facebook reach through label controlled Facebook and Twitter. Press on websites across the globe.

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

Next up on the ever-eclectic XVI Records, a shadowy figure steps into the spotlight: enter the mysterious Captain Over, whose dark yet soulful bruk-infused tracks soundtrack the next stage of their voyage towards the sun. For his debut outing, Captain Over calls on the abstract vocal stylings of the legendary Trim (Roll Deep, 1800 Dinosaur) on opening track 'SICK'.

Showcasing why he's one of the most iconic and forward-thinking MC's to grace the mic, Trim's dulcet tones twist through a jungle of shuffled beats and subterranean sub-bass, an eerie child-like melody drifting overhead.

Clack Clack and No One Ever Really Flies inhabit a more dancefloor friendly space, their unique syncopation, fierce instrumentation and relentless energy open up the dancefloor for some real get loose moments.

On the remix, they hand the controls over to XVI homestay Books (following on from the success of his previous 'Feel It In My Bones' and 'High Praise Edits Vol 1' releases which won praise from the likes of The Black Madonna, Moodymann, Gilles Peterson and Seven Davis Jr) Books expertly crafts a cosmic footwork jam, full of his trademark soulful chords and eerie midnight saxophone licks.

As he prepares to launch his forthcoming EP 'No-One Every Really Flies' into the cosmos ; Captain Over is beginning to cement his place as one to watch in the UK underground - a sequel EP featuring grime upstart Nico Lindsay is scheduled for release later in the year, with several more collaborative works in progress.
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One of soul music's great female voices, Millie Jackson's reputation was made by the release of Caught Up' and Still Caught Up', released in 1974 and 1975 respectively.

Here we reissue Caught Up' on vinyl. Both albums deal with infidelity - and see it from both the wife's and the lover's point of view. The combination of spoken word raps and forceful, risqué lyrics was to become Millie's trademark for several years to come

Side One belongs to the lover and gives us an eleven-minute plus version of 'If Loving You Is Wrong'.

Superb backing from the classic Muscle Shoals Rhythm Section line-up of Beckett, Johnson, Hood and Hawkins features throughout, with long-time Millie Jackson producer Brad Shapiro at the controls.

New Flesh Records 19 Ever wonder what would happen at the first minuts of an Alien in-vasion Answer can be found on Geometric Vision', the debut EP of Hungarian electro don Norwell on French New Flesh Records. Real name Balázs Semsei, Norwell has turned out a steady stream of releases on labels like Dalmatia Daniel, Pinkman, Chabu Recor-dings, Seagrave and his own Farberwechsel imprint until now, always coming on strong with a personal artistic vision plus a sense of drama.

Across four craftily cuts on Umwelt's label, he revisits his own dystopian universe made of sonic frequencies fused into rich atmosphere with a strong array of emotions. From the haunting opener Geometric Vision' to the explosive final Conversation Patterns', Nor-well signs one of his best release to date.

Fascinating synth melodies supported by raw drums and insane electro textures compose this must have 12'' and an essential addition to the New Flesh catalog. Heavy electro darkness for serious heads, this is a soulful EP full of depth, impossible to ignore!

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

A leading figure and respected elder in the Teklife family, Traxman has waited patientlywhile releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world. Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles. A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions. Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition.

Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music. Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.

Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.

The man who views life in constancy is destined for stagnation. Everything is change, everything is motion. Atoms to galaxies, seasons to lives. Together in motion. The powerful force brings together, spinning together. Be magnetic. Music is the magnet that brings together and makes us spin. With subtlety, the aptly named Gyration EP begins its spin as minimalist synths assault with increasing frenetic abandon. Under the guise of apparent simplicity, Rekord 61 abducts the mind to a realm of constant motion. A futuristic merry-go-round stuck in overdrive, adrenaline spikes and neon lights smear across your vision. Unbalance and Ari Atai produce remixes of Gyration and Ferrimagnet that brings the machine to life. With catchy sequences and galactic atmospherics, the remixes imbue organic energy to the unwavering motion of the original tracks. Bringing the revolutions back under control, the efforts of Ari Atai and Unbalance expose dubby layers, pounding drums and melodic texture. Let the breakneck pace of Rekord 61 race through your mind, then let your soul reverberate with the timeless melodics of the remixes.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

Say You Love Me wasn't "Om" Alec Khaoli's first solo recording but the 1985 EP solidified the bass player and songwriter's standing as one of South Africa's most consistently innovative pop auteurs. He built a career on ubiquitous rock, pop and soul hits with groundbreaking bands like the Beaters, Harari and Umoja.

But Khaoli's seemingly endless fountain of music continued outside these ensembles, where he usually played bass and contributed songwriting and vocals. Khaoli released several successful solo works while he made records with Umoja and worked on other productions with friends. This creativity was aided by Khaoli's own recording studio. He was the first South African to have a privately-owned studio.

As black artists were forced to record during lunch breaks and didn't get sufficient access and time in the white-owned studios, having his studio allowed Khaoli to develop in his own way. Hence his productive output during the 80's and early 90's, releasing 5 LPs with Umoja and 5 solo LPs, along with numerous singles and EPs. There's something broad and dynamic about the almost epic pop sound Khaoli creates on Say You Love Me.

Being the first South African to take control his recording process and thereby free himself from one of apartheid's many strictures, he took his vision of music to new realms and made timeless music for the dance floor in the process.

Bushcraft; the knowledge of survival in the wilderness.
A young man leaves the safe harbour of his home town, only to find himself lost and lacking the soul.He was always able to trust his ears, but are they really true to him. Or is he merely not listening. Distant echoes of bass and the melancholia that was always present seem far away. With Bushcraft EP Jor-El finds himself in touch with the elements.The elements of the hard hitting futuristic music that once took his heart and formed his life. Rumbling bass lines controlled by lazer sharp hi-hats driving forward. Eerie sounds coming in and drifting out again. Always driving forward. The influence of his early years in drum & bass is there. Still this is pure techno music from an artist discovering new things in the universe within himself.
True Rotary Recordings is run by Joel Alter and Ena Cosovic out of Copenhagen.Stemming from a mutual appreciation of the combination of raw techno and seductive sounds, the label is a natural development of their musical and personal partnership.
True Rotary Recordings represent their musical vision and the vibe that they love. Keeping it raw and genuine.

Rising Amsterdam-based star Esther Duijn leads the charge with a hypnotic, understated slice of dub techno that grooves in all the right places. Label boss Brothers' Vibe then steps up with a sharp-edged, percussion led workout that blooms into a fulsome, acidic jam laced with techno futurism and pure machine soul. German production duo youANDme are regular collaborators with Brothers' Vibe, and here they join forces for the tough, drum-pounding Playing With Toys. Rodriguez also takes the opportunity to unveil the Silent Rodgerz alias, championing the Toad Red vision with a daring, experimental trip through abstractmodular-synthesizer processes that build towards a jacking rhythmic throw-down.

Coloured Vinyl Only
The latest release from Serbia's Soul Print Recordings brings together the two L's, Leonid and Laak. Up first is Leonid on the A side with two tracks Urania 1 and 2, possibly named after the muse of astronomy, which makes sense, as both tracks have a cosmic feel about them. Urania 1 starts off with a nice string sound that permeates the space before the drums start to really take effect half way through. Urania 2 has a more house feel about it, with the acid bass line sitting nicely along the deep pads. Over to the b side and Laak takes control. Delving into late night territory with haunting layered leads & pads these tracks are typical quality by Laak. Featuring label artwork once again by fellow Serb, Bratislav Milenkovic and pressed on a beautiful sky blue, Yesterday For Tomorrow is a thing of aural and visual beauty.

Ron Bacardi joins RNT with a 4-track inferno of disco edit heat! The A-side races out of the gate with the galloping 'Back For More,' followed by the soulful bounce of 'Circles,' which loops a gritty guitar-driven hook to perfection. The B side kicks off with 'Music Play,' an easy-breezy synth-string, electric piano, and horn-laden affair. Swirling percussion and soaring falsettos take us home on 'Never Dance,'but don't get it twisted: with Señor Bacardi at the controls, dance you WILL!

REPRESSED !!

Device Control is Jake Reif's new solo production outlet which draws equally from the pools of early Wax Trax and Medusa's with the hybrid pit jack of early Farris or Rush. Machine made yet with a soul, all four cuts are for the true hyper jackers on the floor, tested and recomended.
Born in New York and spending his formative years in the mid-West, Jake Reif has served time amongst some of the best, producing alongside both Mystic Bill as well as Reade Truth; releasing well recieved 12s on Rong Music and a break out remix on Snuff Trax in recent years. Back in the day you could catch Jake clocking hours working at Sonic Groove Records among a motley crew of heavy hitters whilst honing his talents.

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year

REPRESSED !!

Label head, Patrice Scott returns to the controls for his next offering of sonic impressionism. The Detroit Upright EP features two choice cuts of pure soul. Patrice's musical foundation was laid and developed in Detroit and the inspiration continues to this day.

Sometimes we don't remember how some situations have become out of control. We are left to ourselves in a losing battle. The time distorts everything. The rules change and leave us with nothing else but frustration from a world that no longer exists. But the music we defend is out of time. It offers us its purity and pierces our soul with its intensity. Let the music be and evolve by itself. Let's break down barriers and give up all that prevents us from listening, feeling and loving it at its true value.
Support - Gather - Discover - Create : Be authentic.
LiT is you, is them, is us. A community that gather talents around one common passion: techno and experimental music. Our first aim is to create relationship and meeting between
artists. Our approach is to accompany and help them on their way with full transparency : no booking fee, no exclusivity. We want to have no differences between artists, people and
promoters : we are only here for the music. We are one.

Awaking from the dreamstate of Gryningen's hazy library inspired 10", we find Aficionado's expert selectors well rested and in the mood for a dance.
Utilising their extensive network of global connections, Moonboots and Boardman enlist Hungarian producer San Laurentino to raise spirits and pulses with a deep and diverse collection of body movers.

Perfectly conjuring the nostalgic melancholy its title suggests, opening track 'First Love' takes us by the hand for one last dance under the stars.
Cinematic pads sweep around a snapping drum pattern as a signorina from Rimini embraces a Basildon boy, seeing out the summer season to the hair raising chords and spine tingling sequences of a San Laurentino's masterpiece.

While that holiday romance might have come to an end, 'Back To The Stars' leads you off in search of new experiences. Emotive pads, undulating bass sounds and celestial keys vie for attention while the solid kick, intricate percussion and lively hats play out a swaying rhythm. Then all of a sudden the track changes tack completely, tripping out to a modular melody and sinuous techno bassline before reaching a soul soothing conclusion.

On the B-side 'Long Way Home' lulls us into a false sense of security via a gentle drumbox bossa, before thick bass stabs and a tough new beat rhythm take control of our bodies. Once again San Laurentino packs the track with atmospheric chords but this time adds delicate guitars and subtle piano, balancing the steely rhythm section with deep emotional resonance.

Closing the EP with unrivalled sophistication, 'Amici' sees San Laurentino drop the tempo and concoct an irresistible low slung groove before expanding our minds with wavering pads, hypnotic chimes and misty synth vox.
The perfect finale to an EP certain to leave you misty eyed on the dancefloor. Officially Aficionado

Tasty Treats, another side project of the multi-talented Ronald Burrell dropped this 4 track EP way back in 1993 on the cult Citi label out of NYC.
As expected the tracks contained within have all the facets of that magical "Burrell sound"; healthy doses of Soul, sleaze, deepness, late night atmosphere and that solid, no nonsense NY/NJ House attitude, for the heads, the dancers, the all nighters and the freaks! This is pure Shelter/Garage joy!
The Burrell brothers back catalog is just ridiculous in terms of releases, styles and quality control and this EP sits comfortably up there with some of their classics. An all round solid EP for all true House music lovers regardless of area code or geography!
%100 legit re-issue, re-mastered and brought back for the summer 2015 flex - Don't snooze!

The III Rivers juggernaut sets forth once again, release number 4 The Charivari EP, putting Voiceless in the cockpit and leading the charge.

Second Nature sets a dark, sultry and ominous tone as Voiceless deploys a plethora of sounds and moods that resonate with all the tense drama of the label's affiliated club night, Bohemian Grove.
Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on.

Always keeping a foot in the sonic warfare division, we get three locked grooves loaded and ready for battle, funky, electrified technoid wobblers that should fight off most opposition with ease.

Flip the disc and Opt-out opens with a controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos, percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend, guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines.

Final track Charivari really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session.

One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.