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- First 45 from new label 3 Palm Records - Classic deep funk and soul cover featuring singer Adryon De León - Hard break beats and soaring vocals // West Coast soul and funk powerhouse Orgone returns to their roots with this scorching cover of the James Brown-produced Marva Whitney song "It's My Thing (You Can't Tell Me Who To Sock It To)." The original is considered a breakbeat classic and has been sampled by hip hop's golden era stalwarts (NWA, Public Enemy, & EPMD). Orgone brings their brand of heavy hitting, gritty production to update the song for new ears and a new era. Lead vocalist Adryon de León struts and belts with swagger and soul, riffing and owning Marva's response to the Isley Brothers' "It's Your Thing." Orgone's seasoned rhythm section chugs hard and heavy in their crusade to do justice to the legacy of James Brown's renowned band The J.B.'s. Topped off with percussion breaks and killer horn lines, this side is ready to be embraced by soul aficionados, beat junkies, and deep funk crate diggers_not to mention the hardcore fanbase that Orgone has established over two decades of critically acclaimed studio releases and a well-earned reputation for fiery live shows. This is the debut 45 from 3 Palm Records.

‘Soul Calibre’ from Sydney beatmaker Kase Avila is a collection of late night down tempo groovers, low slung boom bap beats and smoked out hazy head nod hip-hop and soul.

Kase Avila is an Australian-Fillipino DJ, producer and all round creative from Sydney, Australia. Packed full of depth, diversity and musicality, this one is for early doors or end of sets at the club, back to mine sessions, sunrises, sunsets, headphone trips, all seasons and basically any time you want to elevate your soul and feel good.

Svart Records is proud to present The Limit. Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021. More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portugese metal band Dawnrider, The Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman Logic, Bobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max's Kansas City, CBGB Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portuguese band Dawnrider, The Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar. The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it.

Svart Records is proud to present The Limit. Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021. More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portugese metal band Dawnrider, The Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman Logic, Bobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max's Kansas City, CBGB Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portuguese band Dawnrider, The Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar. The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it.

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei
Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Out on Friday 4 October, independent label Low Key Source is proud to be releasing Raiza Biza’s forthcoming album Bygones.

A hypnotic culmination of hundreds of hard drive demos, eclectic musical inspiration and collaboration, enter Bygones - a record striking the balance between the intricacies of electronic production and at times, melodic half-sung poetry, delivered with raw intensity.

The nine track record features cameo appearances from Sudanese-American rapper/producer extraordinaire Oddisee, Australia’s REMI and B Wise along with AmmoNation collaborators Blaze the Emperor, Embher, VULC, and more.

Speaking with a sense of urgency in his flowing baritone voice, Biza’s work has always carried a socially conscious heart, backed up by honest storytelling and captivating jazz/soul infused
production as the aura to his words. His new material follows a new sound arch, and with those changes comes a newly found freedom.

On Bygones, Biza found inspiration in the deeply written metaphors of the Marvin Gaye-era soul and the heart-hitting rhythms of 1970’s funk groups like Gapp Band. Binding his grounding in socially conscious thought and observational storytelling, he studies the human condition and the world around us - from his own experience.
Though this time, he admits, the record finds the balance between fun and seriousness. Rather than be ruled by the lyrics, the music plays an emotive part.

“I wanted to create space for emotional interpretation of the audience,” he reflects. “I’ve tried to find a balance between the things I’ve released in the past and the further left-sitting things on my hard drive.”

The newest generation of hip-hop has forced him to just do; and overthink less. “Being able to take that fun within the music and combine it with raw melody, you hopefully connect with people.”

He tells the angles of the human condition through high octane moments, the party life, through to the low, self-reflective moments found in tracks like ‘Stolen Youth’ and ‘Trouble’ where he teams up with Oddisee and Zenyth. Both tracks have gone onto become student radio network hits, sitting in the top 10 of the Radioscope Alternative Airplay chart in New Zealand for consecutive weeks.

A humble titan within the antipodean isles and Aotearoa’s underground scene, Biza has firmly planted roots, supporting the up-and-coming generation of local MCs and hip-hop producers. As the hearty driving force behind AmmoNation, Biza believes in the power of community and the sharing of knowledge. A voice from within the African-New Zealand diaspora, Biza has strived to bridge the gaps of understanding and preservation of his experience in New Zealand, while also supporting his fellow artists on the same mission.

“We, the African diaspora, we are no longer toddlers in the places we immigrated to. We have an identity and a growing presence.”

Planetself return with ‘The Chosen’, an exciting new collaboration with LA-based producer extraordinaire Daniel Crawford (known for his creative mixtapes and live work with artists such as Raphael Saadiq and Mary J Blige). The track also features the vocal talents of legendary US underground wordsmith Blurum13.

Planetself producer Inkswel became aware of Daniel Crawford’s work through his latest album ‘Revolution’ on Wicked Wax and his well-renowned ‘Flip Wilson’ mixtape series. He then asked Crawford to remix a track from the Planetself back catalogue, but this turned into a complete flip and rework manifested as a new song we are now proud to unleash on the world.

‘The Chosen’ is all about the newest generation of kids coming up who have been chosen by the universe to be a part of this crazy time on our planet. Our people’s evolution to bring about change and revolution in a time that we need it like we’ve never needed it before! They hold within them the love and light and strength needed to turn this world around. It’s up to all of us. If you are here now this includes you. We are all The Chosen.”

Sit back and absorb the soul-drenched, feel good vibes of ‘The Chosen’. Let the sound move you to make a positive change in the world today.

EDSEVEN
Sydney DJ/Producer Edseven has built a rock solid reputation over the last 15 years, sharing the stage DJing with the likes of Gilles Peterson, Peanut Butter Wolf, Norman Jay, IG Culture and many more across Australia, Berlin, Detroit and Amsterdam.

Always eclectic, his selections joining the dots between styles and eras with skill and respect – never losing focus on the dancers.

His latest release ‘Freaky (Meet me halfway)’ is no different. A djembe led future soul burner blessed by the legendary London vocalist Colonel Red’s scorching voice with Canadian duo Potatohead People flipping it into a dripping 80’s Boogie track.

On July 4th Kase Avila is set to raise the bar even higher with his latest effort ‘Minerva’ via Low Key Source. The Filipino-Australian producer is set to delve deeper into his artistry and penchant for the experimental with 14 new tracks.

When Covid-19 turned the world upside down, Kase sent himself into self-isolation. Confined to the studio, the Sydney beatmaker faced this tumultuous time with his love for producing music. Kase explored his love of 90’s boom bap, neo-soul, and the Soulquarians, while playing with the crisp sounds of electronic music to strengthen his perseverance and resolve. Taking its name from the Roman goddess of music, poetry, medicine and wisdom, ‘Minerva’ is a celebration of the resilience found in creativity when faced with uncertainty. The record envisions a sonic landscape that is as intimate as it is expansive. Lush chords pervade Kase’s signature hard hitting drum lines and smooth melodies like an evergreen being traced with graceful footsteps. The result is a sound that is regal in its confidence and joyous in it’s expressiveness. The lead single ‘Magic Birds’ strikes a harmonious balance between the sample-driven beats that have made Kase a fan favourite amongst the lo-fi hip-hop community, and ethereal synth flourishes that give the track a seamless fluidity.

Kase has long been a cornerstone of the Sydney music scene; his brand of ebullient and soulful beats have been filling dancefloors and bedrooms of hip-hop heads for the better part of a decade. In 2019 he released his first ever LP ‘Soul Calibre’, a project that also marked his debut on renowned label Low Key Source. ‘Minerva’ signifies Kase’s continuing ambition to preserve the purism of hip-hop while simultaneously pushing its boundaries with one kick, snare, and key at a time.

• From the mid-‘50s through to the early ‘70s, Jackie Wilson was a consistent hit-maker and master showman, known as one of the most dynamic singers in American R&B. Jackie Wilson has a dazzling record of 54 US Hot 100 and 49 R&B singles chart entries
• ‘Nobody But You’ is the final studio album by the soul great and is the first vinyl reissue of the 1976 album
• Highlights include ‘Don’t Burn No Bridges’
• Pressed on 140g black vinyl with original artwork and printed inner sleeve

Following on from the success of ‘​For the Rest of My Days​’ (Obese records, Fat
Beats NYC, 2011) , ‘​Outer Circle Movements​’ (Obese Records , Soulspazm , 2013)
and more recently Pegz & Silent Titan - ‘​Equilibrium​’ ( HydroFunk records), The Silent
Titan returns in 2019 with his forthcoming solo EP, ‘​Quiet Elevation​’.
Titan, who has been making a name for himself as a producer in Australia for the past
15 years, is eager to see how worldwide Hip Hop fans will take to his sound.
“I always want to make records that can’t be pin-pointed or linked directly to one corner
of the globe”, he says. His production style sees him carrying on the legacy of iconic
sample-based producers such as Pete Rock and Madlib, building on the tradition that
the greats have established before him.
He comments, “As a producer who has great honor and devotion for Hip Hop culture,
I'm here to express to the world through my music what these pioneers have taught me
through their production, build on that style and bring something new and fresh to the
table.”
‘​Quiet Elevation​’ includes collaborations with ​MED​, ​Blu​, ​Kota the Friend​, ​Raff Alpha
and ​Ozay Moore​, alongside the Australian-based talents of ​Minx​,​ Luke Dubber
(​Hermitude​) and world class saxophonist ​E.Baker​.
The drums hit hard, the sample chops are tight and the synths are heavy.
‘​Quiet Elevation​’ is less reserved than his previous releases and sees The Silent Titan
really coming out of his shell and exploring new sonic landscapes and arriving at a
point where hip hop heads from around the globe will be forced to stop and take
notice.

Tony Joe White scored big with 1969’s “Polk Salad Annie” from the album Black & White MOVLP989 and he was having success as a songwriter too: “Rainy Night In Georgia” was a huge hit for Brook Benton in 1970.

His self-titled third album (1971) finds the “Swamp Fox” tempering his bluesy rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The addition of the Memphis Horns and other Muscle Shoals session men really worked well for the album. Many of the songs will remind the listener just how turbulent the cultural climate of the late 60’s and early 70’s was in the U.S. Songs like “The Change”, “Black Panther Swamps” and “I Just Walked Away” (the album’s first single) are testament to the era.

An array of lauded artists has collaborated across Coin Banks new Outside Looking In EP, from the WAAPA Gospel Choir on ‘Forgive Us’ and Brisbane based Ezra James providing vocals for ‘Pull Up’ and ‘Problems’ rounding out the songs with a smooth, R&B sound, to three-time World DMC Champion 20Syl who produced the latter. Atom lends his touch to ‘BreakBanks’, throwing it back to the late 80’s/early 90’s break-dance and Hip Hop scene, while James Chatburn’s silky, soulful chorus amplifies the tenderness on ‘Stay In Bed’, which along with the ‘Handlebars’ was produced by Cam O’bi who has collaborated with Chance The Rapper and Kendrick Lamar.
The vinyl version of the EP includes 2 bonus tracks ‘Be Real’ and ‘H.E.R.’ both featuring Atom and Danny Martin which were produced by Nottz and 20Syl respectively.
COIN BANKS
Perth rapper Coin Banks has quickly established his position as one of Australia’s most exciting voices in Hip Hop, since the release of his singles ‘Think of You’ and ‘Hatches’ in 2014, fusing classic and contemporary styling in his inventive storytelling.

His unparalleled run has charted local and international tours including supporting the likes of Cypress Hill, Macklemore & Ryan Lewis, Action Bronson and Illy, saw him round out 2015 as the Most Played Artist on triple j Unearthed and nominated as their Artist of the Year, plus a string of accolades including WAM Urban Artist of the Year in 2015 and WAM Song of the Year in 2015 and 2016.

Split in two volumes, here is the sum of James Brown's early five year period 1956 - 1960, when JB (and his Famous Flames) was obsessively searching for his own sound. Selected from a bunch of 19 two-sided singles, and including super hits such as "Please, Please, Please", "Try Me" and "I'll go crazy", this collection represents James Brown's fundamental groundwork for the coming Soul Music revolution.

Perth’s DJ/producer Charlie Bucket drops his second EP "One Life". It is a melting pot of sounds and Influences featuring guest appearances from all over the globe such as SLIMKID3 (The Pharcyde), Detroit natives Guilty Simpson and Boog Brown, UK Hip Hop artist TY, Raashan Ahmad (Crown City Rockers), Ghanian MC Blitz The Ambassador and Australia’s own NFA Jones.

Fusing together the sounds of Afrobeat, Samba, Jazz, Soul and Funk music "One Life" presents a more organic approach to Hip Hop.

Absolutely stunning second album from Trees Speak new on Soul Jazz Records. Trees Speak's new album 'Shadow Forms' is a blend of 1970s German electronic and 'motorik' Krautrock instrumentals (think Harmonia, Can, Cluster, Popul Vuh, Neu!), haunting and powerful 1960s & 1970s soundtracks (think Italian prog-rock Goblin and John Carpenter horror movies, Morricone and existential John Barry spy movies), together with a New York no wave electronic synth and guitar analogue DIY-ness (think Suicide, anything on Soul Jazz's New York Noise series or Eno's New York No Wave)! Trees Speak' segue together all these elements into 'Shadow Forms,' which follows on from their critically-acclaimed debut LP 'Ohms,' released on Soul Jazz Records less than six months ago. Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona's natural desert landscapes. 'Trees Speak' relates to the idea of future technologies storing information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively. The album includes an exclusive bonus 45 single 'Outtake' and 'Transmitter' that will only be available with the first order of this amazing and ground-breaking new album.

Les Disques du Crepuscule presents Subway, a collection of singles by cult NYC duo Thick Pigeon, originally released on Crepuscule, Factory and Factory Benelux between 1981 and 1991.
Comprised of vocalist Stanton Miranda and instrumentalist Carter Burwell, Thick Pigeon emerged from the downtown New York artrock scene which also spawned Glenn Branca, Bush Tetras, DNA, Arthur Russell and Sonic Youth. Like their chosen name, the duo were typically atypical: Miranda was previously a dancer with the Marthe Graham ballet company, and Carter a film animator and Harvard fine arts/architecture graduate. Very much a studio project, the ‘group’ hardly ever performed live.
Poised and subtle debut single Subway appeared on Crepuscule in January 1981, a connection forged by Miranda’s partner Michael Shamberg. Dog followed a year later, along with wry Christmas single Jingle Bell Rock, before the duo switched to Factory Records, recording debut album Too Crazy Cowboys in Manchester with Stephen Morris and Gillian Gilbert of New Order producing. Released simultaneously on Factory and Factory US in 1984, the album was billed as “a walk through the civilisation of you soul”.
Having now embarked on a career scoring movies (becoming the Coen brothers’ composer of choice), Carter was absent from the next TP project, 1986 dance single Wheels Over Indian Trails, although Morris and Gilbert remained on board as guest musicians. However Miranda and Carter would reunite for a second (and final) leftfield pop album, Miranda Dali, issued by Crepuscule in 1991.
As well as singles Subway, Dog, Jingle Bell Rock, Jess + Bart and Wheels Over Indian Trails, TWI 351 also includes b-sides (Sudan, Tracy + Pansy), album highlights (Crime, Riding) and a second festive track, Blue Christmas, previously issued only on cassette as part of a Factory Christmas card in 1986.
Alongside Stephen Morris and Gillian Gilbert, the stellar cast of guests include Fred Szymanski (of Ike Yard), Ikue Mori (DNA), remixer John Robie, and even artist and event designer Jean-Paul Goude on backing vocals.
Limited to just 500 copies, Subway (Singles) is newly remastered and pressed on transparent violet vinyl, reflecting the original 1981 sleeve artwork by legendary Crepuscule designer Benoit Hennebert. The album includes a free digital copy (MP3).

The distances and limitations resulting from the lockdown become the starting point for Sara to communicate a message to everyone through the groove and the lyrics of her first track “The Heart Knows”, played by C. Robert Walker. Inspired by the Underground sound and with Soul, Deep and Afro influences, "The Heart Knows" is a project conceived to offer different atmospheres in a single release, from the Soulful House of the "Vocal Mix", to the more "Deep" one of the rinidadian Deep remix. , then passing through a more “Shelter” mood in the remix of Neapolitan Soul & Luciano Gioia.

12" Vinyl with Download Code. Expanding their rich sound palette Forbidden Dance moves on to the next plateau with their third release. After releasing two legends Alton Miller and Vick Lavender, new EP is signed by a young and sound broad producer from Naples - The Mechanical Man. Drawing influences from the sound of Chicago, Philadelphia and Motor City he achieved to catch the multi essence of the house sound into a four-track journey marked with slow and fast-paced soulful corners dominated by toned vocals and stripped-down beats all the way to the underexposed lounge sections and playful intermissions.
Drum programming is a strong point for The Mechanical Man and it can be clearly heard in "A1 - The Streets Of Revelation". Infused with most probably vintage Linn Drum hits, the track intertwines numerous elements in a hoppy and gentle swirl riding on double vocals. Everything takes a full sonic conclusion in the third quarter when the main synth starts to breathe fully.
Residing on almost the same rhythm hits, "A2 - I Keep Thinking" is more of a deep dive into love dreams. Emotional and subtle pads and chords progression are really felt here as the track rubs under soft vocals in need of a response.
The light essence is captured on "B1 - What Your Eyes Don't See". While the delayed vocals are cutting the motion and the rhythm is rougher, it still manages to keep the terrace vibe movement. Rhode-like section carries the track all the way with occasionally reduced percussion hits spicing up the background.
On the other note, "B2 - Take Her In Your Arms" is a gentle dance of maracas and rhodes. The acoustic bass is quite seductive and inviting whilst flutes and other elements riddle the track with a toned-down lounge feel and sway into hypnotic slow-motion.
Diverse, rich and enchanting tunes by The Mechanical Man!

Inkswel is firing into 2020 with his debut release The People EP on Boogie Angst.

Having previously released on such top notch labels as BBE, Rush Hour, Sonar Kollektiv and Yoruba Soul (as one half of Planetself), quality is assured from the producer with two original tracks and high quality remixes.

Too Late featuring Atlanta rapper and broken beat master Daz-I-Kue collaborator Stan Smith is built around an 80's synth line and electro percussion throwing things back to the early days of hip hop and breakdancing.

Having previously worked with vocalists such as Georgia Ann Muldrow, Amp Fiddler and Steve Spacek – Inkswel first delivers The People - a perfectly crafted lo-fi club rocker with San Fran luminary Dave Aju on vocals.

Boogie Angst is run by Dutch electronic dons Kraak & Smaak and as well as their own output is also home to the likes of Moods, Secret Rendezvous, Vhyce and Saux.

2LP Set With 19 Classic Tracks From One Of The Most Beloved Singers Of All Time In One Of The Greatest Soul Acts.
Gladys Knight & the Pips remain, without doubt, one of the greatest acts of the soul era. With powerful lead vocals supported by ultra-smooth harmonies delivering a catalogue of hits, their mark on the charts alone is impressive enough. Add in their remarkable fashions, memorable choreography & collaborations with some of the greatest songwriters of all time, and you have the
definition of iconic artist right there.
Breaking through in the late 50’s on Jackie Wilson’s Brunswick label, first serious chart success came soon after signing to Buddah in 1973 and the release of a Jim Weatherly number, ‘Where Peaceful Waters Flow’. Their second release for Buddah took them into the pop stratosphere. ‘Midnight Train to Georgia’ - another Weatherly composition - landed them a US No.1 and UK No.10 hit.
And then classic hit after classic hit flowed. ‘Best Thing That Ever Happened To Me’ (Weatherly), ‘Baby Don’t change Your Mind’ (Van McCoy), ‘Make Yours a Happy Home’ (Curtis Mayfield), ‘Baby, Baby Don’t Waste My Time’ and ‘Bourgie’ Bourgie’’ (both Ashford & Simpson) all feature here among many others as a slice of the group’s huge repertoire.
After the group amicably disbanded in 1989 Gladys continued to record and
perform, including her joining the select band of superstars to have performed
a James Bond theme, with her unmistakable ‘Licence to Kill’. Still performing
solo to this day, “The Georgia-born ‘Empress of Soul’ reigns supreme,” wrote
The Times of Gladys as recently as 2019. But it will be group’s golden era from
the early-70’s to the mid-80s catalogued here that Gladys Knight & the Pips will
always be most fondly, and recognisably remembered.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Die GRAMMY-nominierte Band CHA WA veröffentlicht mit ,My People" eine neue Song-Kollektion, die aus der reichen und lebendigen Straßenkultur von New Orleans schöpft. ,My People" vereint zeitgenössische Klänge mit der Musik von Straßenparaden und der Mardi Gras Indianer-Gemeinschaft - einer Gruppe schwarzer New Orleaner, die mit ihrer Kleidung, ihrer Musik und ihrem Dialekt den indianischen Stämmen Respekt zollen. Vollgepackt mit einer lebendigen Ansammlung von New Orleans-Klängen und -Geschichten, schöpft diese Sammlung neuer Originalsongs aus den Grooves von New Orleans-Funkbands der 70er Jahre wie The Meters (besonders bei Stücken wie ,Wildman" und ,Bow Down") und nimmt deutliche Einflüsse aus der Geschichte der Stadt mit Brass-Band-Musik, Jazz, R&B, Hip-Hop, Rock, Soul und afrikanisch inspirierten Arrangements (einschließlich einer relaxten Coverversion von Bob Dylans ,Masters Of War" in diesem Stil). Cha Wa wurde von Bandleader Joe Gelini kurz vor der Veröffentlichung des 2018 erschienenen Debütalbums ,Spyboy" gegründet, das 2020 bei den GRAMMYs mit einer Nominierung für das beste regionale Roots-Album ausgezeichnet wurde. ENG The next generation of New Orleans music shares a bold vision for the future with a reverence for the past. It builds upon tradition to bring something unique to the world. The future of New Orleans music is Cha Wa, a Mardi Gras Indian funk band that takes the music of the streets into the 21st century, with guests like Alvin Youngblood Hart and Anjelika Jelly Joseph. On "My People", the band tries to "take the influence of Monk and Bo and Willie Tee [from the original Wild Magnolias] back in the day, when they were interpreting the music of their time - the deep funk, disco, Afrobeat and tinges of reggae," says drummer & bandleader Joe Gelini. "And we're also trying to interpret and write new music that we're inspired to play that's relevant to our generation, and our current social environment." "My People" feels like pure joy, a distillation of generations of New Orleans expression, but it also never fails to remind us how hard-won that joy was and still is: not least in the tense, funky and explosive title track, with its declaration "My people, we're still here." "Mardi Gras Indian songs are inherently songs about freedom," Gelini says. "And that struggle is as relevant today as it's ever been."

Repress

The Vanguard Project is the brainchild of Steve BCee & Andrew 'Villem' Wilson. Both already being established producers this new project sees them truly going from strength to strength with every release. For the Daredevil EP they deliver four soul-soaked slices of deep spaced drum & bass with rolling drums. To keep things short and simple, this is dope.

Despite the fact that we are all still hanging in there, 2021 kicks in heavy in style for CHILDHOOD with a killer 4-tracker 12" release by DON WILLIAMS. Thomas and I met a while ago on a dancefloor, however our friendship sealed for good when we met online playing endless Splatoon sessions on Nintendo Switch. Our common interest in a broad range of things and music in particular led to a deep exchange of ideas when it comes to the love for the vinyl product. Having started the label last year with DJ DEEPs VAINCRE EP, I can surely state that Thomas was kind of a mentor and of countless help when it comes to setting things up. I therefore couldn't be happier and more thankful to welcome him to the CHILDHOOD family with BLITHE SPIRIT, a true masterclass EP ranging from experimental and complex rhythms, over driving dancefloor madness to soulful early morning ecstasy cuts. The first 100 copies come in marbled red vinyl. Be sure to grab a copy and while listening to it at home, having in mind that these grooves will tear dancefloors apart in a not so distant future. WE SHALL DANCE TOGETHER! - David Muallem

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

This highly collectible LP from 1974 is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique sound and joyful vibe. Includes the anthems 'Mi Nuevo Ritmo' and 'Alma y Sentimiento/ Soul and Feeling' recorded at different sessions in Colombia and Peru. Presented in its original artwork and pressed on 180g vinyl. The highly collectible LP Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track 'La Música Brava' proclaims, "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song 'Mambo Rock' (with 'Estricto Guaguancó' on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue.

Bad Colours is the moniker of London-born, Maryland-raised, Brooklyn-based DJ and producer Ibe Soliman. With influences of garage from both sides of the Atlantic as well as funk, post-disco, proto-house and rap samples; his debut album 'PINK' is set for release by Bastard Jazz on 26th February 2021.

The drive to record an album came about while isolating at home in Flatbush during the COVID-19 pandemic. Inspired by some rough ideas and samples that friends sent him, Ibe focussed his attention on making music. From time well spent soaking up and storing sounds from clubs around the world, Ibe found, now with the time to dedicate towards it, the tracks flooding out. Taking cues from early Trax records and Larry Heard, the UKG musicality of MJ Cole, Todd Edwards' vocal sampling techniques, the brashness of Bmore, and an encyclopedia of disco, funk and soul knowledge; Ibe got to work and quickly compiled more than enough tracks for a full-length release.

Flowing from the album intro 'PINK!', first single 'Cookin' vibes over a Chris Faust sample and saxophone from south California virtuoso Carras Paton. 'Feelin' Like' was originally built around a short vocal sample by Jarv Dee, but grew to include additional lyrics on black power from the Seattle rapper after he heard it: "Dancey stuff with a message" says Ibe.

Slow jam 'Heyyy', with its preemptive lyrical synths, bridges to the album's next single 'Get You Off'. Ibe had been listening to a lot of Marvin Gaye - particularly 'I Want You' - during lockdown, getting into the production and vocals. After writing the "I just wanna get you off" hooks, he handed the track over to talented singer, actor and playwright Marcus Harmon who wrote the verses and provided the stunning vocal performance.

Keeping the sensual vibe, 'Skin To Skin' samples vocals from 'Private Play' by Wash 'N' Set, also produced by Ibe, with the Chris Isaak-esque guitar lines by Lex from Foreign Tapes. Made late at night, CMYK reminded Ibe of driving at night in the rain in NYC, where the colors bleed together on the wet road while 'Boss', the first track made for the album, is based around a Sunny Jones sample. The closing track 'Feel' was made at the peak of Black Lives Matter protests. "I just wanted something hard sounding," says Ibe.

Known for his residencies at some of New York's top venues, Ibe has been rocking crowds as a DJ for over a decade, and has shared the decks with the likes of James Murphy, Mark Ronson, and Q-Tip. He's performed alongside Wiz Khalifa, Snoop Dogg, Pusha T, and Young Thug, to name a few. In high demand as a private party curator, he's helped set the tone for Jeff Koons, FKA Twigs, Justin Timberlake, Travis Scott, and Usher. When Ibe's not behind the decks, he's in the lab, where he's produced for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others.

Atlanta soul music hero, RICHARD MARKS, released an impeccable run of 45s, mainly on tiny, local labels. Thanks to many years of work, Eothen Alapatt at Now-Again and Georgia soul authority Brian Poust researched, rescued and released the late great man’s entire works from the Marks family. We have specially selected the two alternate versions of his solitary Shout 45, fitting neatly on one side, backed with his final release: the hideously obscure 80s ballad I CAN’T STAND (Being Alone Without You)

On "Neon Genesis: Soul Into Matter²" Meemo Comma (a.k.a. Lara Rix-Martin) takes Kabbalistic text and Jewish prayer and guides them through twinkling ambient synths, breakbeats and cranking industrial noise, full of strange wonder and drama. You can hear soft synths transmuted into choirs of seraphim and moments of occulted dancefloor rapture, from Aramaic chanting and ravey breakbeats to readings from the Zohar. It is quite beautiful at times. Jewish mysticism is at the root of Western esoteric beliefs and therefore has formed the structure of many films and books that explore the question of humanity. Inspired by the visuals of Evangelion and nineties anime soundtracks such as Ghost In The Shell (and its later Stand Alone Complex series), the new Meemo Comma album is a soundtrack to an imaginary anime that, like its real counterparts (e.g. Full Metal Alchemist), takes the beautiful parts of Kabbalah and sets them to science fiction stories. When asked about the themes that inform her new album, Lara Rix-Martin says "Judaism is filled with many tales and teachings that prevail in science fiction to this day - whether consciously or not. Sci-Fi is the genre best equipped to explore the immensity and challenges of human experience. Something that Judaism has also been attempting for over three thousand years." "I watched Ghost in the Shell when I was 14 and it was so striking, visually and sonically. The soundtrack has acted as a backdrop to explore my Jewish identity. I have been reading the Talmud since last year, discovering a deeper love for Jewish stories and teachings. There are some beautiful, hopeful ideas in Kabbalah too, which were a central inspiration to this album such as the idea that the first human was non-gendered and just this form made up from the qualities of HaShem (God) who performed 'Tzimtzum', contracted their form using their Ein Sof (eternal light) to create 'Adam Kadmon' whose form split into all human souls." Lara playfully subheads her album: "In the year 5781 humanity is ever closer to becoming a singular consciousness. A team of humans are forming an android, Adam Kadmon (CODENAME: UNIT KADMON). First, humans have to gain higher consciousness guided by the Sefirot." While you don't have to know about these influences to enjoy the music, it stands true that the intention is an irreverent love letter to the way grand myths are birthed into the future through new forms, retaining their beauty and elegance.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

El Michels Affair is back with another two-sider picture sleeve 7". The A side, Murkit Gem, taken from the upcoming album, Yeti Season, is another pairing of El Michels Affair's unpredictable brand of soul and the lilting vocals of Piya Malik. From the crack of the first snare this one sinks its teeth in you. The backing music simultaneously has the swag of the darker side of Wu Tang as well as the light hearted bounce of a cartoon theme song. Piya Malik's vocals dance all over the tune, cementing Murkit Gem as an unlikely but undeniable "get to the dancefloor now" record. The B side Cham Cham is a non album cut exclusive to this 45. Again EMA invites Piya Malik to the microphone and she shares her styled storytelling vocals. It is the vocal version of Perfect Harmony, which appears on Yeti season sans vocals Picture sleeve art by the legendary Ghanaian artist, Mr Brew. Courtesy of Deadly Prey Gallery, Chicago, IL.

It is our distinct pleasure to present Penrose, a new imprint poised to usher in a whole new era of soulful sounds.

Founded by Daptone Records' own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today.

For its inaugural release, the label offers up five singles by five exciting new artists: Thee Sacred Souls from San Diego; Jason Joshua from Miami; East L.A. mainstays Thee Sinseers, and The Altons; and Altadena veterans, Los Yesterdays.

Dojo Cuts were one of the first groups to release a 45 on Colemine Records back in 2009 and eleven years later, they represent the 89th 45 in the label's history. As perhaps the most soulful outfit to come out of Australia the last few decades Dojo Cuts with the help of leader singer Roxie Ray and producer Nathan Aust are back to cranking out new tunes like they haven't since 2012. "Rome" and "Falling In Love Again" are from the most recent LP Tomorrow's Gonna Come.

Rhythm Syndicate Records, Conspire, and Soul Connection, are proud to announce the upcoming release of the "Deep Beats EP". The Second release on the new label will feature four lush Liquid gems that will be a welcome addition to anyone's prized collection. Conspire, a Shrewsbury native, has been a valuable contributor to Soul Deep and Smooth N Groove over the years, and now his productions are being enshrined on an RSR imprint vinyl release. His first track, "Deep Beat," is a smooth rolling tune that boasts snappy drums, lush atmospherics, and slapping percussion, that create the perfect backdrop for the soaring melodies. The song has received heavy play from LTJ Bukem and others in the scene. Conspire"s second offering is a track called, "Late Night," which ditches the smooth rolling sound and attacks the dancefloor with an all out Liquid-Jungle tune, that will heat up the clubs during prime time.

The B-Side of the vinyl release features 2 undeniable cuts from Serbia's Liquid master, Soul Connection. Over the years, soul Connection has released his timeless songs on Soul Deep, Smooth N Groove, and was featured on Big Bud's classic label, Sound Trax Records. "Dub Music," leads off his offerings with its punchy drums, smooth pads, and ticking percussion. The song lives up to its name and pays homage to the Dub music genre, with its washed out reverbs and echoing efx, that softly drift off into the distance, as the lead sounds surge the composition forward. His second offering entitled, "Keep Me High," takes a more Atmospheric approach, but encompasses the critical elements to work in any setting. The ethereal pads lead things off, and when the drop hits the Amen drums are introduced, which help elevate the tune to another level of greatness. The lead sounds fade in and out of the song, creating more interest and allowing the listener to feel the heart and soul of the tune. Overall, Conspire and Soul Connection have crafted 4 masterpieces worthy of vinyl immortality. The vinyl release is set for pre-order in early 2021, so make sure to reserve your copy before it's too late!

Before there was War there was Señor Soul, which saxophonist/flutist Charles Miller formed
in Long Beach, California; he played on Brenton Wood sessions for Double Shot, who
released their loose interpretation of Miriam Makeba’s ‘Pata Pata,’ the hit that led to this
blinding debut LP. Blending funk, Latin jazz and psychedelic soul, the group makes a range
of material their own, led by Miller and vibraphonist Edwin Stevenson; everything from
Heard It Through The Grapevine to Psychotic Reaction gets the Señor Soul treatment,
rendered with equal doses of sensitivity, humour and funky flavour. Long before Miller
recruited members of Nightshift to morph Señor Soul into War, this top-notch debut is a
stone-cold winner from first note to last, a must-have for all funk and Latin jazz afficionados.

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.

Over the course of four albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John and Alice Coltrane, paying tribute to the hard bop of the late '50s and early '60s or most recently on Fletcher Moss Park drawing on Eastern influences in his most personal statement yet. His latest album When The World Was One is something of a companion piece to Fletcher Moss Park (much of the music was written at the same time) but draws more explicitly on Halsall's love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall's favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall's large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall's life-affirming sounds.

The Gondwana Orchestra features long time collaborators Nat Birchall, saxophone, Gavin Barras, bass and Rachael Gladwin, harp as well as Taz Modi on piano. Modi who also plays with Halsall in their more electronic trio shares his passion for spiritual jazz and plays the music with real feeling while the role of the harp here is to bring a touch of 'magical reality' a floating dreaminess that is a vital part of Halsall's elegiac and beautiful music. The drummer Luke Flowers is perhaps best known as part of Cinematic Orchestra, and Halsall describes him as 'one of the best drummers in the world' and hails him for 'playing the music exactly as I heard it in my head', Keiko Kitamura is a Japanese Koto player who is becoming an increasingly important part of the Gondwana Orchestra, her role is similar to Gladwin's in that the koto helps free up the music while also bringing a real sound of the East. Finally, flautist Lisa Mallett brings a love of Indian music to the orchestra, much travelled on the continent she brings all of her knowledge and experience to play offering a unique texture to Halsall's dreamy melodies.

The album opens with the title track, When The World Was One, an expansive ascending tune that nods to Art Blakey and McCoy Tyner and draws the listener in before giving way to the dreamy, meditative A Far Away Place which features great work from Gladwin on harp and draws on Eastern influences alongside the music of Alice Coltrane and Yusef Lateef. Falling Water which features the beautiful soprano of Nat Birchall nods to classic spiritual jazz as well, but mixes in the more contemporary influences of Nostalgia 77 and Cinematic Orchestra, while the hard-driving Patterns conjures an up-lifting celebratory vibe with fine work from pianist Modi to set the mood. The beautiful Kiyomizu-Dera is inspired by Halsall's travels in Japan and in particular his visit to the Buddhist temple of the same name. Likewise Sagano Bamboo Forest is named for another place that left a deep imprint on Halsall and aims to capture his feelings as he worked through the vast maze of bamboo trees. Finally the album closes with the self-explanatory Tribute To Alice Coltrane a grooving tribute to one of Halsall's key influences. Driven by a powerful bass line and featuring wonderful work from Mallet on bansuri flute and harpist Gladwin, the band all really find their way into Halsall's groove before the leader plays a beautiful wistful solo of his own and it is the oneness of the Gondwana Orchestra that makes it such a powerful vehicle for Halsall's music as the leader takes you on his very own journey through his musical and spiritual world.

random color vinyl

Miles was right, Embryo was more than a unique experience. While talking with Charlie Mariano (the saxophone player was one of the most impressive collaborator of the german band) one day he stated: ‘Embryo - they are these crazy creative musicians playing really weird stuff.’ When you get the blessing from the prince of darkness itself, nothing can go wrong, so here’s the story. Opal was the beginning of all things to come, the record was released in 1970 and licensed by pioneering early Berlin rock/jazz/experimental music label Ohr. It was quite a shock! Forget about your kosmische debris and sought after kraut rock genetics, this was pure and mind bending (heavy) psychedelia, the kind mr. Julian Cope would have killed for. The long stretching People From Out The Space – seven minutes plus of outstanding jam – was sitting at the end of the album, right after a series of heavy hitting jazz rock numbers. This was the foundation of a whole myth. A cornerstone in European experimental and popular modern composition. (Released by LONEOS in cooperation with MATERIALI SONORI.)

Acid Jazz present ‘Circles: The Ultimate Fleur De Lys’, the
definitive compilation centred around one of the greatest 60s
bands.
Atlantic Records, Andrew Loog Oldham, Shel Talmy, Cream,
Isaac Hayes and Tony Blackburn - all these and so many more
turn up in the story of Southampton band the Fleur De Lys. You
may not have heard of them and if you have it may be just
because of their glorious cover of the Who’s ‘Circles’, an
ultimate freakbeat anthem that this compilation is named after,
but the singles they released in the second half of the 1960s
are one of the greatest collections of singles by any band,
ranging from R&B through freakbeat and psych and back into
club soul.
Emerging from the English South Coast’s competitive club
scene they signed to Rolling Stones’ manager Andrew Loog
Oldham’s pioneering indie label Immediate where they
recorded two singles before being taken under the wing of
Frank Fenter, who worked out of the UK Polydor office running
the UK arm of Atlantic. The group went through numerous line
up changes as they recorded a series of singles which are now
some of the most collectible of the era.
Acid Jazz and Countdown Records have been the custodians of
the Fleur De Lys catalogue for the last decade and this
compilation is the culmination of that work, containing all the
singles that they released for Immediate, Polydor and Atlantic
(where they pipped Led Zeppelin to become the first UK signed
band to that legendary label).
Issued on CD and gatefold coloured double vinyl, the album
has been produced with the full co-operation of the group’s
Keith Guster, allowing us access to previously unseen photos
and illustrations. Compiled by Eddie Piller and Dean Rudland
and the band’s official biographer Paul ‘Smiler’ Anderson, who
has contributed an extended note that tells the band’s story in
compelling detail.

There are no two voices like these. The late Amália Rodrigues, the Queen of Fado, a unique singer up there with the great voices of 20th century popular song like Piaf, Sinatra, Ella, Oum Kalthoum. Mariza, the young singer that has helped bring Fado into the 21st century. Two of the greatest and most influential stylists of Fado, the ex-libris of Portuguese popular music, a world cultural heritage.

Two artists who have a lot in common, beyond their origin. Mariza swept global audiences off their feet like only Amália had done in the 1950s and 1960s, with her residences at legendary venues such as the Paris Olympia or Carnegie Hall. Through her critically acclaimed recordings and unexpected collaborations, Mariza expanded what Fado could be – just like Amália had done in the 1960s and 1970s. Mariza became the ambassador of Portugal’s music in the 21st century like only Amália had been able to be in the 20th century.

2020, the 20th anniversary of Mariza’s career, the centenary of Amália’s birth. “This the best way I can find to pay my tribute to Amália, and to thank her for the legacy and inspiration she gave us,” says Mariza. It’s been a long time coming, but now it’s here: Mariza Sings Amália. Ten Amália standards reinvented for the 21st century, their soul intact, their identity unmistakable, their stylings unexpected.

For this new album, Mariza invited an old friend – Brazilian musician and producer Jaques Morelenbaum, regular accomplice of Ryuichi Sakamoto or Caetano Veloso. Morelenbaum produced Mariza’s triple-platinum 2005 album Transparente; here, he creates a seductive, inspired series of orchestral arrangements, simultaneously classic and innovative, that allow Mariza to delve into songs we all thought we knew and make them new, fresh, ravishing.

Mariza may have performed all over the world, may have multi-platinum albums that topped charts throughout the glove, may have received endless prestigious awards – but in the studio, face to face with the standards that defined Fado for global audiences, Mariza is starting from scratch. She has recorded Amália before, but never like this, never with this wisdom, this experience, this power of interpretation. Now was the time to try on for size the great Amália classics: “Gaivota”, “Estranha Forma de Vida”, “Com que Voz”, “Fado Português”, “Povo que Lavas no Rio”, “Foi Deus”... Ten in all for an album where Mariza more than lives up to her awards, her success, her performances and assumes the mantle only Amália wore before: that of an ambassador of music, culture, talent.

Recorded between Lisbon and Rio de Janeiro, Mariza sings Amália. Like only Amália could have done, like only Mariza can. Is it Fado? Yes, and no. Above all, it’s a match made in heaven.

A plethora of different dancefloor flavours from Frankfurt's Chris Geschwidner, across four tracks, that take in the warmth and soul of house and the cold steel beauty of techno and bound them up into something fresh and altogether new. 'Corroded' has the colliding drum machines and handclaps of vintage techno or even electro, but welded to a skippy, playful beat that is a definite mood lifter, while dreamy synths seductively cut a swathe around the metronomic hypnotism. 'Pass Over' is smoother, sleeker and combines a bleep techno approach to the soundscape with a bed of comforting Detroit-style synths and strings. 'Viktrak' has more classic Motor City influences but a more classic garage-slanted beat regime - imagine Derrick May's 'Nude Photo' overhauled by Roy Davis Jr. 'The Free' ends the set off with simple but effective electro funk flourishes and a sense of sunny optimism, bringing this lively, accessible but deep affair to a close.

Nimbus, a local student band in Mecosta, Michigan, is one of the highest peaks of self released AOR/Mellow Fusion/Blue eyed soul! This 7 inch is cut out from the only work of Nimbus "Children of the Earth" which was released as private pressing vinyl and distributed just a few copies in 1980. P-VINE are very proud of releasing this EP as new one of Groove Diggers series.

This is a new release of the Groove Diggers series, the only work released in 1977 by 8-members funka soul band "Moonpie" based in Nashville, USA. Aused to be known as just collectors items but you can listen to high quality sound with skillful performance and various arrangements from this record. The cover take of "Stevie Wonder / Sunshine Of My Life" is really awesome.

Latest solo release by legendary Grammy nominated producer Salaam Remi that reflects his perspective of what it means to be "Black on Purpose", with features from Nas, Busta Rhymes, Jennifer Hudson, Super Cat, Common and more.

This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.

On first hearing the A-side ‘Thembi’ (written by Ray Nkwe) ‎you’ll wonder why you haven't heard this song before, but simultaneously be struck with a sense of instant familiarity. It has a loose floating jazz vibe with echoes of 60's hippy, psychedelic soul-jazz qualities, and elements that remind us of acts such as The Deirdre Wilson Tabac. The vocal deliveries are stunning, hauntingly beautiful, and from a place where it is hard to pinpoint just where this song originates.

The B-side, ‘Gwinyitshe', is also absolute fire. This song has gained more coverage and notoriety among South African music fans / collectors and DJ's over the years. It is a deep, pulsing soul-jazz-funk groove with another exceptional vocal performance that is relaxed yet engaging and spiritual, whilst managing to surf the instrumentation to perfection. 'Gwinyitshe' was written by one of the sleeping giants of South African music, Teaspoon Ndelu, who also plays on the record and whose material we can't get enough of here at Mr Bongo.

When you think you have all the records you need a gem like this resurfaces from the past, reminds you that you've only scratched the surface and there is still a wonderful treasure trove out there to enrich you and your music collection. So dive into The Toreadors world briefly, your day will be the better off for it.

• Official vinyl replica
• South African soul-jazz obscurity
• 'Gwinyitshe' written by Teaspoon Ndelu

Re-issue of a soul masterpiece from 1974, 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is. For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'.

Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you’d expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You’ proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom’s work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too.

Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

• Half-speed vinyl cut at Abbey Road Studios

• Sampled by Jay-Z, Mos Def, C.L. Smooth…

• Produced by Barry White, arranged by Gene Page.

Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’. “Teena is somewhat underrated, and people don't really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don't really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.” John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age. Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album 'Starchild'). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’. Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in "The Brockert Initiative", which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.

5 years after his last studio album, Wax Tailor is back with "The Shadow Of Their Suns" a darkly elegant "sound feature" accompanied by a new and prestigious cast.

Behind this allegorical title hides a long period of brainstorm. The luxury of time in a world where everything goes fast. Time to observe the light from the shadow, the "whirlwind of life", its excesses, its drifts and its symbolic violence. Time to think and translate into music as a privileged witness of our society.

Among the guests of this new album, the rock legend Mark Lanegan & his unique voice, Del the Funky Homosapien (Gorillaz, Hieroglyphics), D Smoke (Winner Netflix Rythm + Flow, the new west coast scene sensation), the late Gil Scott Heron, Rosemary Standley (Moriarty), Mr LIF (Thievery Corporation, Def Jux), Yugen Blakrok (noticed alongside Kendrick Lamar & Vince Staples on the Black Panther album), Adeline (Brooklyn’s Best Kept secret soul singer), Boog Brown (Detroit femcee).

LTD. CLEAR BLUE VINYL

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

With his new album Rhapsodic, Nicolas Repac gives life to the archives of the hunter-gatherer of sounds: Charles Duvelle Nicolas Repac is pursuing the dreamlike magic of his art of sampling with his new album "Rhapsodic". The musician plunged into musicologist Charles Duvelle's pioneering field recordings, in order to deconstruct and revisit rare music archives gleaned from all over the world. Repac ventures into the craziest sonic and stylistic pileups - adding voices, rhythms and traditional music from "every world". He offers some "Rhapsodies" of multicoloured sounds and instrumentals, revisited through the prism of electronic music. He liberates himself from all ethnomusicological coherence to speak directly to the soul and imagination of his listeners - beyond the frontiers of time and space. Grafting heady grooves of traditional percussion from Benin onto sub-Saharan violin refrains, interweaving them with Mongolian morin khuur on a bed of pygmy mouth-bow, Nicolas Repac leads us on the most captivating of immobile journeys, to the heart of the most intimate impulses, the most human pulse.

∙ Live they were a revelation. The only group from
the UK scene who could do tight and slick, without
slipping into ‘lift music’ blandness. The core
membership of Andrew Levy, Simon Bartholomew
and Jan Kincaid had been playing together since
college and knew where the other was going. Their
ability to write classic soul songs lifted them above
their contemporaries.
∙ Shibuya 357 is the quintessential (and only live)
document of an era that quickly passed. The hits –
‘Never Stop’ , ‘Dream Come True’, ‘Stay This Way’
and ‘Don’t Let It Go To Your Head’ are all here – as
are some compelling funk jams. This recording
captures the ecstatic rush of joy; when you go from
youthful dream to accomplishment in such a short
period.
∙ The album was only ever released in Japan in the
late 90s and then only for a very short time. Acid
Jazz is pleased to release this new version
remastered from the source tape, and the album
appears on vinyl and on streaming services for the
very first time.
∙ 1991 was a momentous year for The Brand New Heavies.
They started it without a singer second on the bill to
The James Taylor Quartet and by the end they were
had a Top 3 US hit and were about to embark on a
run of 16 Top 40 hits in the UK. N’Dea Davenport
was by this point fronting the group as their guest
singer, and the brilliant string of singles from their
debut album were becoming locked in the minds of
an ever growing fan base.

‘In Praise Of Shadows’ is a delirious dreamland of soulful
vocals, D’Angelo-ish guitars and muted electronic beats.
Its fourteen tracks are a contemplation on “the balance
of light and dark, the painful things you have to heal
from or accept, that bring you through to a better
place,” says the 25-year-old Puma Blue, real name Jacob
Allen. “It’s about finding light in darkness - and realising
that it’s what got me here today.”
Puma Blue’s nocturnal, soul-searching sound was born
from a decade in which the 25-year-old was plagued
with insomnia, “for literally a decade, I just couldn’t
sleep,” says the cult-acclaimed London
songwriter/producer. That certainly helps to explain the
hazy, late-night “voicemail ballads” of the early EP
releases that propelled him to prominence, 2017’s
‘Swum Baby’ and 2018’s ‘Blood Loss’ earning him a
reputation as affecting chronicler of unrequited love and
inner turmoil.
It’s an intimacy still present across ‘In Praise Of
Shadows’ but there’s also a new maturity and lucidity to
the way in which Allen deals with his demons and
celebrates beauty across his debut album, influenced no
doubt by his journey over the last two years in which a
blossoming romance has finally helped him to sleep
whilst a burgeoning career forced the previously
bedroom-bound songwriter out into the open, driving
him to find new perspectives on loss, love and
everything in-between.
2LP pressed on 180g milky clear vinyl (first pressing
only).

The latest from Mr. K and Most Excellent Unlimited pairs lowdown and stomping disco from an unlikely source with a funked-out floorfiller from some very familiar voices.

Minnie Riperton’s 1977 single “Stick Together” was an outlier in her catalog of smooth modern soul, an intentional nod in the direction of the prevailing disco sound. Co-written with Stevie Wonder, “Stick Together” in its original single release was divided into two parts, the first a fairly conventional uptempo cut with all the catchy qualities you’d expect from Stevie and the husband and wife team of Richard Rudolph and Minnie. It was the second half of the song that caught the ears of DJs who played for funkier dancefloors, however. Freddie Perren, a former member of Motown’s legendary Corporation collective of songwriters and producers, and a man then red-hot off his success with Tavares’ “Heaven Must Be Missing An Angel” and the Sylvers’ “Boogie Fever,” was on production duties, and the song clearly benefits from his disco-friendly touch. In Mr. K’s epic edit we are treated to a lengthy exploration of the second part of “Stick Together,” featuring keyboardist Sonny Burke (veteran of Marvin Gaye’s band and fresh from playing on Candi Staton’s disco smash “Young Hearts Run Free”) working out an irresistible Jingo-esque piano part, Riperton’s sensual ad-libs, and, as if that wasn’t enough, a cameo appearance by Pam Grier on finger snaps! Krivit’s 8-minute-plus edit passes way too quickly to get enough of the hypnotic groove — rewinds are called for!

Our flip side, “Body Language,” originated as an album cut on the Jackson Five’s last album of original material for Motown, Moving Violation, recorded before Jermaine left to go solo and the remaining brothers joined Epic Records in a new incarnation as the Jacksons. For such an obvious heater it’s puzzling why the label never released it as a single; but regardless of that apparent misstep, “Body Language” has long been a sure shot in many DJs’ bags. With his new edit, Mr. K presents the track in its ultimate form, loud, remastered, stretched out and rippling with energy over a full six minutes. With an iconic bass line that just doesn’t quit, and Michael and the boys in fine form, it’s impossible to imagine a situation where this wouldn’t set the room on fire.

Magnonic Signal head honcho Antonio Velazquez aka Spin Fidelity, known from his top notch releases on Subwax Excursions and Parang recordings, is present on the fourth outing on Brussels imprint Nightflight Records. This EP reflects the label’s spirit where there are no musical boundaries and hi-tech funk is the main ingredient of every track. On the A-side we have two techno soul stompers, “Photon Stream” and “Ancient love”, with rolling basslines, some acid and deep pads that will draw you straight to the dancefloor. On the flip we get two deep electro-funk tracks, “There must be a way” and “Magnonic transmission”, with a Detroit touch on a deep futuristic trip.

It took Sibille Attar five years and a lot of soul searching to produce Paloma’s Hand, the 2018 EP that served as the long-awaited follow-up to her debut album, Sleepyhead. Both that record and her first EP, 2012’s The Flower’s Bed, seemingly left her with the world at her feet, with widespread critical acclaim, television appearances and a Swedish Grammy nomination for Best Newcomer. The years that followed, though, involved both creative and personal turmoil, and left her feeling increasingly adrift musically as the uglier side of the industry reared its head.

“For a long time in my life, I tried to sit in certain constellations to please other people,” she says. “And it didn’t work, because I could only do it for a little while before I’d get frustrated and want to do things my own way. There was a time when I felt like I couldn’t trust the business, and it was draining me of my love for the music. Eventually, I realised you can’t live your life trying to fit into somebody else’s mould all the time.”

Paloma’s Hand, a six-track pop odyssey that slalomed through genres, brought years of struggle to a long-overdue end. Just as importantly, though, it served as a much-needed palate cleanser for Attar, breaking through the barrier of writer’s block. Just two years later, she’s back with her second full-length, the aptly-titled A History of Silence, a reference to that long period of searching for her voice. “I thought about calling it A History of Violence, because in many ways, the album is like a violent attempt to tell my own story when I’ve been silenced,” she explains.

Key to the pace at which she was able to work this time around was a realisation that she functions best on her own - “I just felt like, “fuck it - I can’t be bothered dealing with other people and their opinions.” Accordingly, A History of Silence was written, recorded and mixed entirely by Attar herself, and where she needed a little bit of outside help - sweeping strings on the epic "Dream State", for instance - she penned the arrangements herself and had friends record them exactly as directed. “It seems like that’s the way I have to work to get things done, and it helped things come together really quickly - the first song was done at the start of 2019, and the last one was finished around the time the pandemic was taking hold. It was frantically fast, but I work one song at a time, so it was never too chaotic."

The album never sounds too chaotic, either; like Paloma's Hand, it takes a broad approach to pop, but one that’s anchored by the key through-lines of sharp melodies and atmospheric soundscapes. Largely recorded in Attar’s Stockholm apartment, A History of Silence finds room for everything from sparse alt-rock ("Go Hard or Go Home") to spacey, electropop (the Madonna cover "Oh Father"), via the more up-tempo likes of "Somebody’s Watching". “On some tracks, I had really specific influences in mind,” says Attar. “There’s a lot of eighties stuff going on, and I was deliberately tracking down those kinds of synthesizers to try to capture that sound.”

Attar shies away from talking in too much detail about the themes that run through A History of Silence - she wants the record to be received as universally as possible - but it’s clear that the album marks the beginning of a hugely exciting new chapter after the rebirth that Paloma’s Hand represented. “If anything, it’s like a preacher’s album,” she says. “I’m preaching to myself, teaching myself, telling myself off in the lyrics. It’s about accepting loss of power, changing expectations, and getting rid of some heavy baggage. That’s the way I made the album, and it meant I had no limits - every single idea I had, I tried. When I said I was falling out of love with music, that feels like a very long time ago now.”

Stephanie Lottermoser’s brilliant and highly anticipated album ‘Hamburg’, is her follow-up project to ‘This Time’, which was number two in the German jazz charts in 2018 and which was characterised by Jazzthing, as “containing feather-light songs with a surprising level of thoughtfulness”.
There are some decisive differences that set ‘Hamburg’ apart from the abovementioned recording: the autobiographical elements in the storyline and the musician’s thoughts on important social topics of our time, which had a determining influence on the structure of the songs. the album - does not only focus on the city itself but lets the eye wander further away.
The result is an exceptionally entertaining album, agreeably close to the live sound of the band, intertwining elements of funk, jazz, pop and soul splendidly and of a quality rarely to be found.

The iconic album series Back to Mine returns once again in 2019 with the first DJ imx compilation from world dominating indie-dance band Jungle, showcasing their personal tastes for the after-hours. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back to Mine’s heritage for quality this edition comes with limited edition heavyweight vinyl and extra thick cardboard sleeves with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist’s influences alongside personal sleeve notes from Jungle.

The collection includes an exclusive track from Jungle themselves and takes the listener on an eclectic musical journey. From 90s disco by Merle to more recent house tracks by Manuel Darquart and Drumtalk. Bristol DJ Admin provides the percussion heavy ‘Space Cadet’ and the irrepressible Mocky supplies good vibes on ‘How It Goes’. There’s sophisticated pop from The Marias and Sam Evian and there’s some spotlight for modern jazz with tracks by Kamaal Williams, Mansur Brown and BadBadNotGood featuring Kaytranada. There’s also room for some gospel influenced soul by The Flying Stars of Brooklyn NY, lo-fi dream pop from Paul Cherry before ending with the always impressive HNNY.

To coincide with the series release, Jungle will embark on an extensive Back to Mine global DJ tour.

*Repress*


The iconic album series Back to Mine returns in 2019, to mark it's 20th anniversary, with the indomitable Nightmares on Wax, to share his personal collection of music for after hours grooving. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back To Mine's heritage for quality this edition comes as limited edition heavyweight vinyl and extra thick cardboard sleeve with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist's influences along side personal sleeve notes form Nightmares On Wax.

The collection includes three exclusive tracks, one new track from Nightmares on Wax, along with a remix from the man himself of seminal band Fat Freddy's Drop and brand new project Creative Principle. The album is impeccably mixed and blended, as you'd expect from a DJ and collector of George's pedigree. His selection includes a strong representation from his roots in Northern England. Opening with respected Manchester soul duo Children of Zeus, Hull's Steve Cobby provides his own 'Lefthanded Books' featuring Crazy P's Danielle Moore and also introduces his chuggy-disco project Chieftain. There's also room for the recent Nightmares on Wax recent single 'Look Up'. Moving internationally; there's Greek producer Dim Zach who doffs a cap to Imagination on the synth-heavy 'Innocence', US-born/Colombian based Afro/Latin/disco/funk producer Bosq, Italy's Massimo Vanoni with the slo-mo funk 'Exciting Groove', the deep and jazzy 'Gotta Have It' by Berlin's SoulPhiction side project SBM and two tracks by New Zealander Ladi6.

This first re-instalment of Back to Mine is a triumphant return for the iconic and music loved series. Nightmares on Wax delivers an incredible selection of tracks that gives the listener a real insight into the artists personal and extensive taste. To coincide with the series release, Nightmares on Wax will embark on extensive Back to Mine worldwide DJ tour which sees the producer touch down in various cities across Europe and USA, including six dates in the UK.

'I always hoped that when the time was right I would be asked to do a Back To Mine release and so when the call came there was absolutely no hesitation'. - Nightmares on Wax.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife.

This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight.

Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are Sooty Wing Flecks a minuscule species of half keyboard half vocoder chatter? Is Gleitende Liebe to be trusted or simply laying out a guide for disorientation? Pearling Woes is a queasy ballad sung by a robot on a very special comedown. Keloid knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporise. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop and experimental forms.

On Feather and Wire album is a deep absorbing trip through multiple moods, genres and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is Ordine Kadmia? What are they saying to me, here we go, on and on...

With it's haunted vocals, coded linguistics and dark sensual propulsive atmosphere On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive.

Written and produced by Mika Hallbäck Vuorenpää

Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö
Mixed by Oscar Mulero at Dead Souls Studio Gijón
Mastered by Stephan Mathieu
Images by Dimitrios Bizios
Artwork by Nik Void

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a second limited 45'. This release delves into some modern soul and jazz, flipping some new age cult classics to club friendly future anthem

Outer Space, the 6-piece band from Barcelona is back with two original tracks, totally fresh and raw from the depths of the galaxy.

Dead Planet is a slow burnin' theme featuring Catalan guest singer Gemma Humet. A stunning young voice with an already extensive career that will transport you to the streets of Addis Abeba. On the flipside, Not Even Light, another original song where you can taste the distinctive flavour of Mulatu Astatke with extra added soulful grooves. On both tracks special guest percussionist Jesús Campos joins them with his fiery hands.

Once again, Outer Space bring you their characteristic approach to Ethiojazz that will strip paint off the walls.

Soft Cell’s 2002 reunion album ‘Cruelty Without Beauty’ is set for reissue in new expanded and remastered 2CD format, as well as being released on vinyl for the very first time.

Long regarded by many fans as an overlooked masterpiece, the album features a lyrical outlook that was as true to Soft Cell’s maturity and perspective back in 2002 as it is relevant and accurate to the world situation in 2020. Harshly honest, fatalistic and bleakly humorous, Cruelty Without Beauty also preserves the band’s highly distinctive and edgy sound, and stands alongside their greatest work.

The new 2020 version includes tracks originally destined for the album, but for various reasons not on the final cut. It also includes brand new 2020 versions of album highlights Monoculture, Together Alone, Darker Times and Last Chance, updated this year by Dave Ball. Also included are a number of unreleased live versions of album tracks, plus rare remixes.

Cruelty WithoutBeauty, Soft Cell’s fourth studio album, and the first since their original split in 1984, happened after Marc Almond and Dave Ball reunited in the studio after Dave’s ‘other’ band The Grid (with Richard Norris). They worked with Marc on some tracks from his 1991 Tenement Symphony album, which eventually opened the door for some live Soft Cell dates and areunion in 2001. As well as this album release in 2002, the band toured thealbum extensively in the UK, and across Europe and the US, including many festival appearances throughout 2002 and 2003.

The album includes the singles Monoculture and a cover of Frankie Valli & The Four Season’s classic The Night, which became the band’s first Top 40 hit since since 1984.

Most recently in 2018, Soft Cell sold out London’s O2 Arena and were the subject of a career retrospective BBC documentary. They have recently signed to BMG and are currently recording a brand-new album, set for release in 2021. Before then, all of their classic Phonogram-era albums will be reissued in new expanded editions via Universal Music.

Marc Almond commented at the time of the album release ‘I always felt it was an unfinished story, and I’m glad we’re able to write another chapter’.

Dave Ball also commented ‘As soon as we work together, we become Soft Cell, you know’. I don’t know what the magic element is, but it just seems to be there’.

PHILLIP BALLOU Pittsburgh-born Phillip Ballou’s earliest years were spent in the gospel field; after he moved to New York City in the ‘70s, he teamed up with Bennie Diggs and Arthur Freeman, founding members of The New York Community Choir and singer Arnold McCuller to form the group Revelation. The quartet recorded for RSO Records, scoring some R&B success in the US with tracks like “Get Ready For This” and “You To Me Are Everything,” touring the Bee Gees among others. Phillip also sang on albums by NYCC recorded for RCA Records and continued with Revelation until 1982. Frequently hired for sessions in and around New York, Phillip teamed up with UK soul music journalist David Nathan (who he’d met in 1974 during Nathan’s first US visit) and John Simmons, formerly a member of The Reflections, another New York vocal group to write a series of songs for his own proposed solo record deal. Although a contract did not materialize, one of the songs – “Ain’t Nothing Like The Love” – got some interest from famed Philadelphia producer Thom Bell who presented it to The O’Jays. Ultimately, the tune was turned down by Kenny Gamble and John Simmons, by then musical director for Stephanie Mills, recorded his own version for a small independent label in 1981. Phillip continued his own musical journey, touring and recording with James Taylor and Todd Rundgren. In addition, Phillip’s name graced recordings by George Benson, Billy Ocean, Kashif, Nona Hendryx, Jonathan Butler, Teddy Pendergrass and Melba Moore; in 1981, he began recording with Luther Vandross and became a part of Luther’s touring band for many years, as well as singing on productions by Luther on Aretha Franklin, Dionne Warwick and others, continuing his association with him until Luther’s 2003 stroke. Phillip returned to his gospel roots in 2004 as Minister of Music at a Brooklyn church and passed away in March 2005, aged 55 .We are proud to bring you Phillips second single on Super Disco Edits, and perhaps his best! "We'll be together" is an uplifting song with an almost gospel tinged melody. But the songs lyrics portray a love thats just about to blossom.

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Lydmor's new album 'Capacity' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'Capacity' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date. There is almost a David Lynch'ish cut about 'Capacity'. The album is like a winding maze where it is difficult to decipher what is real and what is an illusion. Like a book with countless narratives. Without conclusions. Ambiguous. Full of alluring mysteries, dreams, reflections and messages about gender, identity, love, guilt and liberation. Rich in contrasts: Black/white. Silence/noise. Weakness/strength. Fiction/reality. Labyrinth/compass.
Multiple media has compared the quirky voice to the likes of Grimes, Kate Bush or Björk but inevitably the comparisons fall short. (Kaltblut Magazine) - With brutal honesty, unbelievable vulnerability and yet dreamy, she sings the soul out in her pulsating electronic pop songs. The soft, bright voice is deceptive. Denmark's "hidden gem" is a must-listen. (Flux FM) - She is every bit as innovative as Madonna ever was when she started out. Lydmor ticks all the boxes; the girl has everything. For my money she’s the most ground-breaking, inventive artist in Europe right now, possibly in the world. (God Is In The TV, UK) - A unique artist who somehow manages to combine sophisticated and subtle balladry with strident electronic pop, I’ve declared previously that I believe she is only one step away from becoming a big name. Perhaps the feelings are supposed to be mutually inclusive, as the song swings musically from simply cold to complexly hot. It is one that does try to combine both sides of her song writing persona, the introverted balladry and the more elaborate, extrovert electro-pop. (Nordic Music Review) - Revolting pop pathos, primed with pumped up beats. (Negative White, Switzerland)

Proudly presenting the inaugural release on A’s and Bees, a new label of heavyweight 12 inch pressings highlighting double sided delights, with 50% of the profits from each release being donated towards the British Beekeepers Association.

First up, Rare Pleasure’s ‘Superfine Feeling’. Only ever pressed as an almost unattainable acetate that’s rarely traded hands and when it does we’re talking £400 upwards. A 1977, modern-soul-tinged disco number from the New York troupe with soaring vocal harmonies, jamming guitars and big band section galore.

Who better to take on the Bee side than Ashley Beedle himself, offering up a signature NSW rejig - retweaking, dubbing and straight buzzin this cut out across those summer thermals for maximum dancefloor bedlam.

Buzz for life!

Soul Slabs Vol. 2 is a collection of A-sides from the 7-inch catalog of Loveland Ohio's Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, KellyFinnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

BACK IN 2001, when Detroit exploded all over the airwaves, the Dirtbombs’ released this album.. it flew out.. and here it is again on glorious vinyl format. Mick Collins and his merry band of Dirtbombs (which, this time around, features Bantam Rooster's Tom Potter and Detroit studio wiz Jim Diamond) bring the soul on their sophomore album Ultraglide In Black, named after Ultraglide in Blue, a cool late-nite flick from your youth. All the influences that helped shaped his sonic psyche are in the forefront here - Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Stevie Wonder, Parliament, the Miracles and host of others too obscure to mention all have their presence felt. If the Temptations owned fuzz pedals and read too many comic books they might've sounded something like this. There are a lot of young bands claiming to be creating "soul" music and "testifying" (we won't name names) but this here is the authentic item - accept no substitutes. "The Dirtbombs' combination of squealing feedback-driven guitar, dual drumming and walloping bass presence rivals that of the Velvet Underground. Imagine the Velvets, Gories and Oblivians battling to the death inside a tuna fish can, their raw and ultra crude instrumentation blazing away with hell-bent fury. Led by Mick Collins (who spent time fronting the Gories and the rockabilly grunge outfit Blacktop), the Dirtbombs' distinctive Motown howl and wicked axe slingin' escapades shred like one of Dolemite's rapid-fire, X-rated monologues.… Collins executes some snarling, self-professed "cyclone" guitar riffs underneath the stomping, mummified mayhem. These Detroit cavemen have found their place in a fuzz-drenched, garage band sound reminiscent of Question Mark and the Mysterians fused with the sonic annihilation of the Stooges." -Tucson Weekly
Every shop /home NEEDS THIS ALBUM.

Be assured that even dawning on sixty and with a career spanning more than 30 years, Popa Chubby continues to fight against the injustices of this world !
And the least we can say about 2020 and the COVID-19 pandemic is that it offered him the “magnificent” inspiration that fed into the creation of his new album “Tinfoil Hat”! As he writes himself, this record’s creation was self-evident from the beginning of the first lockdown in March.
Back at his base in the Hudson Valley and following his last show played in Florida, our man immediately wanted to send a message of empathy and support to his fans, and that’s how the song “Can I Call You My Friends?” was conceived. The reaction was so sudden, warm, and intense that he found there was enough material for continuing this “dialogue” by composing other songs that today form the framework for “Tinfoil Hat.”
The whole thing was entirely “homemade,” recorded and played by Popa Chubby with the extra Guts and Soul that great causes often bring to life. “Tinfoil Hat” and the 11 songs that make it up were born from a mixture of love, despair, fear, frustration, pain, joy, sorrow, resolution and the leap into the great unknown imposed by the coronavirus that has been with all of us all since last
March. The Trump administration’s chaotic and reckless management of the crisis provided Popa Chubby with the inspiration for uncompromising lyrics. Like those of the title song (supported by, to say the least, an explicit clip) or themes such as “You Ain’t Said Shit,” “No Justice, No Peace,” or “Another Day In Hell.”
Without forgetting to pass on messages of hope (“Someday Soon, Change Is Gonna Come”) or even for good behavior in the face of the virus with “Baby Put On Your Mask.” In the album notes, he writes, “Like all of you, this pandemic has pushed me to the very edge of my humanity. But the music, the sweet music, has put me back on the right path once again. So I offer this work with humility and the deep devotion I have for you!”. That says it all!

Hot on the heels of last year’s drone masterpiece, The Free Territory (FTR 457), comes this hot bowl of noodles from Manchester’s most elegantly wasted quintet. And while there might be apt comparisons to be made to some of the best current psych purveyors, the central thrill provided by these sounds makes me think of naught but prime Bay Area ballroom scene acid spew.

The guitar lines unspool like electrical cables filled with acid punch, and remain crackling in the air for moments longer than you imagine they can remain afloat. The keys have a bit of a German overtone, but it’s the same sort of one that led to the flash of Popol Vuh’s United Artist albums (which are themselves, at heart, paeans to the Bay.) The sound here is the sort of thing true believers recall as the highest moments of Man in live concert flight. Raging, raving guitars to soak your soul once and for all.

Don’t fear the downpour. Revel in it.
-Byron Coley, 2020

As darkness falls, once familiar territory is rendered alien and foreboding; full of weird and terrifying possibilities. These are Night Lands.
Recorded live in the rehearsal room last December, the newly expanded 4 piece Dead Sea Apes lock into spooky nocturnal grooves, augmented by Nik Rayne (The Myrrors) who was over in the UK for the recording of 'Night Lands'

Night Lands is comprised of 3 off-the-cuff improvised pieces, where Dead Sea Apes effortlessly mind meld with Rayne. Taking for a deep knowledge and love which you can hear seep through - At times Amon Duul (both!) at others times Earth with touches of what you imagine the Velvet Underground sounded like in the DOM - all touched with the presence of Bo Anders Persson

Earth, Wind & Fire’s sixth studio album That’s the Way of the World rose to No. 1 on both the Billboard 200 and Top Soul Albums charts. It was also the soundtrack for a 1975 motion picture of the same name. They won a Rock Music Award for the album in the category of Best Rhythm and Blues Album. The album is filled with gems ranging from the sweat funk of “Shining Star” to the gorgeous ballad “Reasons”.

Freshly unleashed from the vaults of Desco Records and remastered for the first time since its 1998 release, it is an honor to announce the re-release of one of the finest and most satisfying needle drops of the last 40 years. An album that needs no introduction, yet one is required...we're talking raw soul and heavy, heavy funk sung with aplomb by one of the best in the biz...Ladies and Gentlemen... Presenting...

The Lee Fields' classic, "Let's Get a Groove On". And groove you shall, for this is supernova of soulful superiority. There is no equal.

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Malik Alston and Javonntte Garrett have been at the beating heart of the Detroit scene for decades now, with releases on Kai Alcé's NDATL, Patrice Scott's Sistrum, and Jerome Derradji's Still Music just to name a few. It's no surprise that Bristolian-cum-honorary-Detroiter Andy Compton and the two aforementioned would link up on Detroit's northwest side for a master-class in 21st century soulful house music. This EP, the product of July's 2017 collaboration, features 4 mixes— a percussive heavy 'Linwood Mix' from Malik Alston featuring his sensual vocals and a talkbox solo from Javonntte. 'Malik & Javonntte's Side By Side Dub' feature the two stripping it back to the bouncing bassline and syncopated percussion. For the flip we travel to Bristol, where Andy Compton's mix takes on a bit more of a neo-soul vibe that accentuates his guitar playing and Malik's vocal and Rhodes performance. The EP closes with 'Andy Compton's Dub', which puts Javonntte's harmonica prowess at the forefront.

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.