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For every celebrated name in jazz, soul and related music, there are probably another 1000 musicians who had all the talent and potential but for whom widespread recognition remained elusive. Roscoe Weathers is one such figure, a jazzman who earned his chops the hard way, a sideman in smoky clubs from Memphis to Seattle, before finally settling in LA. He recorded a significant amount of music through the 1960s, but never found the slightest modicum of commercial acclaim nor the success that comes with it.

Overlooked by all but the tiniest of record labels, Weathers' released much of his material himself. Indeed, we can lay claim to be the first outside label to release any of his music since the early 1960s. That's sixty years of being overlooked by the record industry, so we are delighted to release this first full length album of his music in a first attempt at righting that historic wrong.

A multi-instrumentalist, Weathers mainly led on the flute in his recorded output. The music here spans the course of the 1960s, and moves from laid back beatnik jazz stylings through to percussion heavy Afro-Latin influenced workouts. As usual with Jazzman, we have not only dug deep to unearth Weathers' music but also his background and biographical details, shining much deserved light on this enigmatic and largely unheralded figure for the first time.

After a first untitled EP came out earlier this year on the occasion of Record Store Day, saxophonist Mattias De Craene (Nordmann) and his drummers Simon Segers (De Beren Gieren/Absynthe Minded) and Lennert Jacobs (The Germans/Hong Kong Dong) also known as MDCIII will launch their blazing debut album Dreamhatcher on 28 September 28th.

Mattias Decraenes sensationally strident sax parts elevate the hypnotising grooves of rhythmic duo aSimon Segers and Lennart Jacobs to an ecstatic level. The almost alarming sound that stems from this combination leaves every listener in the kind of cinematic daze that would enthuse even directors like David Lynch and Quentin Tarantino.

But is it jazz Who cares! As prodigies of the new wave of Belgian jazz, Mattias and his two soulmates effortlessly marry the virtuosity and free spirit of jazz to influences from the other end of the musical spectrum: from tribal rhythms and roots to far out electronics. It makes it hard to categorise their music unless the category extraordinary counts of course!

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s.

The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’ music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the brothers originally recorded their music in relative isolation in London in the 70s, 80s and early 90s. It’s only in recent years their sublime work has enjoyed a wider audience through an extensive run of reissues.
Arcturian Corridor ? presents a rare, previously unreleased piece of music from Woo – the expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that shows a new breadth and depth to the duo – detailed drum programming and a broader palette of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of the original has been embellished here with rich new passages that turn it into a kind of electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel decades of expressive experimentation between live band dynamics and machine soul on their version of the title track’s second chapter.

Long-time collaborators, longer-time best friends, lifelong analog appreciators; the German duo Iron Curtis & Johannes Albert join cosmic forces once again for another LP mission 'Moon II', a heartfelt voyage through the sounds, movements, styles and machines that created this music in the first place.
Think late 80s New York, early 90s Sheffield and the perennial sounds of Italo and Detroit, 'Moon II' is a lunar safari that celebrates the deepest foundations of house, techno and electronic soul while resolutely refusing to get nostalgic. Written and recorded during an intense two-and-a-half month session in Berlin last autumn, there's a consistency and tangible narrative running throughout as the pair play inspiration ping-pong over the course of 10 tracks.
A little Drexcyian glacial nod here, a hazy Boards Of Canada wink there. The Other People Place, Kerrier District, Environ Records, the Hacienda, Sub Club, Heaven 17, classic electro… All these ingredients are constantly bubbling in the mix for both Curtis and Albert (as individuals and even more so as a duo) and the end result is an album that works as a proper album should. Peaks, troughs, dreamy departures and all beautiful things in between.
Taking off where their debut collaborative album 'Industrie & Zärtlichkeit' (soon to be retitled 'Moon I') left us three years ago, the opening modem sounds on the intro track 'Canggu Laundry Club' dial us into a special sense of time and space.
It's a space where anything feels possible; Visual-inspired acid lines on 'Tiger Trek', lino-spinning body pops and windmills to the street sounds electro style of 'The Ultimate Seduction', the club-focused, Traxx-style Cutie Schamuthie collaboration 'Hurting', the melancholy plucks and struts of 'Feingold', the provocative, slinky, smoky finale piece 'Nektar'… The list of intergenerational and cross-genre landmarks on this adventurous body of work go and on, each track complementing the last as they fuse to create a bigger collective picture. A picture that's charmed together through the consistent use of key classic studio machines.
They call it Introverted Electronic Body Music, we call it warm, free-spirited and ultimately timeless. Perfect for your sets, your afterhours or your headphones alike; it's time to let Iron Curtis and Johannes Albert take you to the Moon and back… Once again.

Clear Smoked Vinyl

180 gram clear with smoke vinyl w/download card.
In sharp contrast to McCagh's commercial work for Huawei, Acura, and Volkswa-gen, "Altered States" is a detailed opening statement of experi-mental aural vignettes by an artist that has clearly spent the time to master his craft. Digitally manipulated acoustic instruments form the backbone for McCagh's wall-of-sound aesthetic painting pictures of bleak futures where the tracks dance, or more aptly, shiver their way to sharp collapse.

In short, McCagh makes ambient music with teeth. A form of experimental music with soul, or faded formation of industrialized machine music shrouded by layers of aural gauze, each piece emotively twist-ing and turning in and out of focus. "Altered States" is a brilliant inaugural proclamation from artist to watch.

Mavericks of the musical landscape, Brooklyn’s finest genre-defying duo Dave + Sam release their anticipated debut album ‘No Shade’ on Classic Music Company this spring, a thirteen-track narration of the 21st century experience, told through the eyes of vocalist Dave Giles II and production maestro Sam O.B. With the aim to package love, empowerment and socio-political commentary into a collection of tracks that never compromise on groove or soul, this enchanting album never loses sight of its message as it journeys from deep Chicago house and otherworldly melodies to funk-laden jams and adventurous studio experimentation.

Hinged tightly by the soulful nuances of Moodymann, Mos Def and Gil Scott Heron, Dave’s captivating spoken word delivery is purposeful and considered, as Sam weaves rhythms and grooves so deep you can get lost in them – the two musical narratives working in perfect harmony. Impassioned cuts like ‘Facts’, ‘Worth It’ and ‘Sauce’ leverage hip-hop’s tradition of battle rap against white supremacist rhetoric, a message that remains ever more relevant in today’s political climate. Title track ‘No Shade’, ‘Day One (Oh Baby)’ and ‘Can’t Get Enough’ allow stories of love and loss to unfold to the listener, while the stripped-back grooves of ‘Round The Way’ and ‘You Da Shit Girl’ add another dimension to the album. Featuring a number of collaborators such as Chicago legend Mike Dunn, powerhouse vocalist Ramona Renea and fellow Brooklyn natives Cor.Ece and LATASHÁ, ‘No Shade’ is an evocative, powerful and joyful experience when played in its entirety.

Recorded in Brooklyn’s Bedford Stuyvesant, a neighbourhood bearing the scars of over-policing and encroaching gentrification, the vibrancy of the community and its unyielding history of creative expression shines through on the album’s entirety. As products of such environments, Dave + Sam’s music is resilient, revolutionary and organic in equal parts. An homage to their mutual reverence for early Chicago house and the golden era of underground parties in New York, ‘No Shade’ is a riveting body of work ready for you to lose yourself in.

Presenting another fully legit, remastered and repackaged reissue from the WD vaults! Brand new style for 2020.

Londons "Warriors Dance" Label was a unique operation + pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city.

A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books.

No Smoke was one of the main and best known outfits on this cult label. Their mammoth worldwide, cult club smash 'Koro Koro' is still in DJ bags across the galaxy today! 'Righteous Rule' is another tuffy from this crew, some heavyweight bassline madness for the dance.

All the elements of the WD sound are here, a perfect mix-up of Reggae vibes, jacking house and tribal badness rolled into one. A proper record, to be played on a proper system! This one's become a rare catch out in the wild, and is fetching some P's on the web among the collectors. Here's a nice 2020 repress for you, done the right way!

No Smoke 'Righteous Rule' is the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Curvepusher, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2020.

After lasts years beloved Operator release, SOLIDE returns with the second part, again by label head honchos D.Y.A and Kalyma.

With this current release, they take heed of a well known principle that has been brought upon us by the Hollywood film industry - any thrilling, perfectly executed and audience approved production needs to get a sequel - So, the curtain raises now for Operator II, a tune instantly reminiscent of its predecessor in beat architecture and kalimba arrangement, yet thought through with even more sophistication and sensitivity.

A Gardener's Perspective pursues that same kind of vibe, coming along with slight Electro-borrowings and cocooning synth-harmonies, climaxing in an masterly organ solo that has soul and devotion to sound written all over it.

Yet another tune that doesn't even have to conform with peaktime arithmetics to send whole floors into frenzy, no matter what time of the night it might be. Closing things off it's Casino Lunch Break, another strongly vibing and very tribal affair radiating afterhour qualities, ending another more than solid offering on Solide on a high note.

Indeed, while he's best known as a DJ/producer in his own right, Duvante's own A&R skills are impressive, with Residual counting on everyone from Fym to Boo Williams to Garrett David over the years. As with their last V/A (the brilliant Refraction Vol. III), the label owner has done another expert job at rounding up some great troops here, with four emerging producers delivering the goods courtesy of Refraction Vol. IV.

We get underway courtesy of Rukka's 'Stellar Radiation'. Full of zippy, nimble synths and clever cowbell sounds, 'Stellar Radiation' is a brilliantly constructed slice of intergalactic funk that brings the rabbit role in some style. Teakup's 'Believe' is a more stuffy, techno-focused cut, the likes of which has been produced in a unique, urban-influenced vein. Miscellanea I on the Is / Was label, it's another reminder of the Ohio native's undoubted talents.

'Sepehr's 'Exit Your Body' plays out like a vintage cut from The Martian. Loaded with funk and soul motifs and characterised by its 808 sounds, this is techno of a real swagger and panache. Deep but brilliantly catchy, it's indicative of the label at its very best. It's then left to Italian producer Pressure Point to see us out, a task he fulfils in some fashion thanks to 'So Far So Good'. Another track with its roots in classic sounds, it too maintains a sort of contemporary edge. Really fascinating and sumptuous stuff that strays down different paths throughout the course of its almost 6 minutes, it closes the release in truly emphatic fashion.

Space-influenced tracks that bring the listener to the heart of the funk cosmos, Residual's latest serves up a brilliant and dexterous voyage to soundspheres that are well worth getting lost in.

New Year, New Bobby. Caserta and trusty sidekick, Lucky Ry, get back in the saddle to present the sequel to the release that started it all, once again starting with a classic cut from the blue-eyed soul genius and turning it into a dance floor heater. Triumphant horns, warm bass, and thumping live drums come together to make up the 70’s mix, while LOUD DRUMS scream 80’s mix. Caserta and Co. once again provide two distinct mixes that are sure to set off any party.

Lee Moses' legendary 45 from 1967, produced by Johnny Brantley. Raw, passionate and incredibly moving, this is soul screaming at it's very best. The career of Atlanta's singer and guitarist 'Lee Moses' only left behind eight 45's and an album between the mid-60's and 1973.
Heard today, it's difficult to understand why success evaded those recordings, as they possess a quality and emotional intensity to match any soul track from that classic era.

Particularly his 1967 Musicor single, produced by Johnny Brantley, featuring the two parts of his own composition 'Bad Girl'.
After it's slow build-up comes a torrent of passionate, raw emotion delivered with throat-shredding vocals that is incredibly powerful and moving. ... Pure soul gold.

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Fehler Kuti
Munich, Autumn 2019

Music by Julian Warner, Markus Acher & Tobias Siegert
Saxophone on RINDERMARKT by Franz Brunner
Trombone on RINDERMARKT and IL by Matthias Götz
Recorded and mixed by Tobias Siegert in Munich.
SONTAGSFAVORIT mixed by Dario Albiez in Dusseldorf.
Mastered by Duphonic in Augsburg.
Artwork by Atelier Grande, Munich.

Soul Jazz Records are releasing their new ‘Space Funk – Afro Futurist Electro Funk in Space 1976-84’, an intergalactic journey into black space, fuelled by funk, powered by computers.
‘Space Funk’ is a lovingly compiled collection of superb, rare and off-the-wall space funk and electro releases mostly released on small independent labels in the late 1970s and 1980s.
Reactors are reacting, boosters are boosting, pack your funk and shake your booty! Computer funk … makes you jump! This is the space funk program!
The album comes in deluxe artwork and three formats – digipack + slipcase CD, a very limited deluxe 2xLP + bonus 7” single + download vinyl version, and a standard 2xLP + download standard vinyl version.
Features music by Jamie Jupitor, Solaris, Robotron 4, Juju & the Space Rangers and many more intergalactic space warriors!
The shuttle program has been altered – there is no Star Wars only electro funk jam joyriders in Space – hold tight!

Fleeing her Soviet ruled home of Tbisili at a young age with her parents, Saze grew up as a nomad living in Russia, France, Canada and the USA before finally settling down and pursuing a career in NYC. A classically trained musician and dancer, before long the Georgian turned her back on corporate life to pour her heart and soul into the arts. Becoming a diligent and versatile electronic music producer, DJ and live act, Sophia Saze is as comfortable sculpting intricate and atmospheric productions in the studio as she is decimating dancefloors with robust Techno and frenetic Breaks. Reflecting on her turbulent life and how it’s formed her own identity, Saze composed her aptly titled debut album, ‘Self’. Released on cassette in two instalments, ‘Part I’ dropped in June and was critically acclaimed with support from the likes of BBC 6MUSIC’s Tom Ravenscroft, Mixmag, DJ Mag, XLR8R, Resident Advisor, Future Music, Attack Magazine, TRAX, Tsugi, Ransom Note and Groove Magazine, with the latter drawing a parallel between hers and Burial’s music. Completing the journey, ‘Part II’ meanders through genres like Ambient, Hip Hop and Breaks, and features very personal insights including handpicked samples from Soviet television shows and VHS cassette recordings from her childhood. Hidden allusions of her classical music education bring up distant memories and melt together the organic but thoroughly electronic ambience. Crackles, hushes and hisses are elaborated so well that the record virtually gushes over the ears like mountain torrents. It appears peaceful and quiet, then rousing and it is sparked with bewildering sounds. It lets scattered beats arise from the thicket and drown again in streams of noise. But

Coming off last year's acclaimed electronic soul release fleet.magic on Andrew Morgan's PPU Records, Baskets of Gold highlights producer fleet.dreams' percussive exchange into the world of dance.
The nuanced artist now calls Detroit home, and the latest work evokes the spirit of the regions deep musical history. It's a little later in the night, still soulful, but the palette has shifted.
After locating the errant poet àj magic wandering the high deserts of the southern US, the longtime collaborator arrived to narrate the journey. The result is an album that sparkles.

Razen celebrate their 10 yr anniversary with “Ayîk Adhîsta Adhîsta Ayîk”, an album that takes a paragraph from CG Jung’s Memories, Dreams, Reflections as a reference point to set off a journey that goes from light to dark, from day to night, from life to death, and back.

As much a reflection of primal imagery and rituals of knowledge as a way of coming to terms with anxieties about the chaos of the night, the album concerns itself with the question: who - or what - are we in the moments before (re-)birth, before waking up, in the state inbetween darkness and light?
On “Ayîk Adhîsta Adhîsta Ayîk”, the wind instruments and organ stabs of band leaders Kim Delcour and Brecht Ameel are expanded with Pieter Lenaerts’ five string double bass and sarangi, Jean-Philippe Poncin’s bass clarinet and chalumeau, and Paul Garriau’s hurdy gurdy.

The album sees the group explore new straight-to-the-gut emotional territory, while simultaneously showcasing Razen’s intuitive, continuous investigation of the acoustic properties and resonant possibilities of churches and chapels in the countryside around Brussels; after “Remote Hologram” (2014) and “ The Xvoto Reels” (2017), this time the St Agatha Church (St.-Agatha-Berchem) functions as the conduit for Razen’s acoustic sound jolts.

With the past ten years entirely devoted to the search for archetypical timbres and connotations by improvising on Early Music instruments, it’s no wonder that the world of Razen would one day collide with the world of CG Jung and take his writing as an inspiration.

A sonic hex tour de force from this unique ensemble, “Ayîk Adhîsta Adhîsta Ayîk” is a present-day, nocturnal emitter of the Coleridge quote that opens Jung’s Memories:
‘He looked at his own soul with a Telescope. What seemed all irregular he saw and shewed to be beautiful Constellations and he added to the Consciousness hidden worlds within worlds’.

Twenty years ago the duo HIL ST SOUL released a groundbreaking debut album SOUL ORGANIC.
Zambian-born vocalist Hilary Mwelwa and producer/musician/songwriter Victor
Redwood-Sawyerr (VRS) had been working away in a North London studio creating a unique blend of neo soul, jazz and R&B that had critics on both sides of the Atlantic in raptures.

Billboard magazine enthused: “Brimming with R&B/hip-hop/jazz-flavoured rhythms and image-rich
lyrics….Even Aretha’s Until You Come Back To Me glows again under Hil’s touch”.
And talking about the lead single Strictly A Vibe Thang, US magazine Radio & Records were
smitten: “You can’t sit still on this one. While listening to this infectious tune you got to move something – even if it’s just your big toe!” In the UK Echoes magazine called it “one of the best UK soul albums ever”.

Strictly A Vibe Thang charted on the Billboard R&B Singles chart, following in the footsteps of Loose Ends, Soul II Soul and Brand New Heavies, while Hil’s acoustic take on the Stevie Wonder-composed Until You Come Back To Me came out of nowhere to be a sensation at America’s Smooth Jazz radio format It ended 2000 as the most-played vocal track of the year across US Smooth Jazz radio stations, and in the ensuing two decades it has been the most-downloaded - and one of the most-streamed - tracks on the Dome label. Also heavily played: the joyful mid-tempo groove of For Your Love

This 20th Anniversary Edition of the album – now in a gatefold sleeve – includes three bonus tracks not included on the original vinyl release: the acoustic version of Until You Come Back
To Me, the VRS Remix of Just A Matter Of Time, with its insidious groove, and Down To Business.

Hil is still very active, playing several UK shows this autumn, including one at London’s Jazz Café, where she first performed 20 years ago.

Mingus’s second Impulse! album, released in 1963, was another large-ensemble
masterpiece featuring two of the bassist/bandleader’s greatest compositions –
“Celia” and “Better Get Hit In Yo’ Soul” - plus a famous version of Duke Ellington’s
“Mood Indigo.”

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

Blume, das atemberaubende Debüt-Album von Nerija erscheint am 02.08.2019 auf Domino.

Blume, das Debüt-Album von Nerija ist eine wahrhaft atemberaubende Sammlung von Kompositionen, die alles perfekt verkörpert, was Nérija ausmacht; lebendig, einnehmend, ansteckend und vor allem am Puls der Zeit.
Der Sound von Nérija findet seine Inspiration in unzähligen Genres - Hip-Hop, Afrobeat und Township-Musik, europäische Klassik und Soul - ein trotzig facettenreicher und einzigartiger Sound, der ebenso von Georgia Anne Muldrow hergeleitet werden kann wie von Arthur Russell, Duke Ellington und Eric Lau.

This year, First Word Records celebrates its fifteenth year in the game. The year commenced triumphantly with First Word being named "record label of the year" at Gilles Peterson's Worldwide Awards 2019. Over the past six months, we've seen new music from 14KT, Souleance, Myele Manzanza, Teotima, Don Leisure, Children of Zeus and a range of artists across Europe, on the 'Music! Musik! Musique!' compilation.

To commemorate the 15th anniversary, First Word has a series of releases in the works for the second half of the year which see collaborations by artists from the label's current roster. To kick off, we have this special double-AA sided 7" single featuring Darkhouse Family, Kaidi Tatham & Tyler Daley.

Darkhouse Family consists of two Cardiff beatmakers & musicians, Earl Jeffers - founder of Melange Records and producer of 'A Library Excursion' from 2018, and Don Leisure, who recently provided us with 'Halal Cool J', the beat-tape sequel to 2017's 'Shaboo'. Over the years they've had releases, solo & individually, on Fat City, Metalheadz & Earnest Endeavors to name a few, bridging the gaps between various strains of dance music, beats and hip hop, with the organics of jazz and funk. Recently making noise across the UK with their new live band, and production work for the likes of Kamaal Williams, this is their first new release since their highly-acclaimed 2017 debut album 'The Offering' & subsequent remix project which also featured DJ Spinna, and one Kaidi Tatham.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. His endless contributions have included Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more. Dubbed by Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince. He can play most things, and play them well. Providing flute duties on this track, he also graces the flipside with a full "flutestrumental" version. Aside from numerous other projects, Kaidi released three EPs on First Word to date, 'Changing Times', 'Hard Times' and 'Serious Times', and an album last year, entitled 'It's A World Before You', which featured daddy of 2000 Black, Dego, son of Jazzy Jeff, Uhmeer and Children of Zeus, Konny Kon & Tyler Daley.

Tyler Daley hails from Manchester, alongside son of Zeus, MC / DJ / beatmaker, Konny Kon. Somewhat of a veteran in the game, Tyler is currently one of the most-recognisable talents in the British soul scene, also lending his talents to dance music royalty along the way, including the likes of Goldie, Zed Bias, DJ Marky & Lenzman. With Children of Zeus, the duo have had a whirlwind 12 months since the release of their debut album 'Travel Light', performing shows across the globe & gaining new fans daily. The record was named "album of the year" by Complex magazine and BBC 6 Music's Huey Morgan, amongst a number of other notable tastemakers & selectors. Hot on the heels of the 'Excess Baggage' EP, Tyler laces this one with his inimitable brand of bars and soul.

A veritable super-group amongst the First Word stable, this low-slung slinky joint sees the guys work up a unique blend of jazz, soul, beats and hip hop - guaranteed to go 'All The Way'…

'All The Way' is released on First Word Records on July 26th 2019, limited 7" vinyl & digital.

Produced & mixed by Darkhouse Family

Vocals by Tyler Daley (Children of Zeus)


b B1. All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]

A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

Vinyl & digital released on Friday 19th July 2019 on First Word Records (Worldwide Awards 'Label of the Year 2019').

I grew up fascinated with the music played late at night on the radio.
As a kid, when times were tough and I couldn't get myself to sleep, I would tune the radio to my favourite FM station and dream on.
This was back in the late 80's and lasted until the mid 90's, a time when I was getting hooked by Hall & Oates, Loose Ends, Maze, S.O.S. Band, Soul II Soul, and other artists that used to rule the dial in the wee hours.
So this music didn't only comfort and nurture me at the time, it also shaped my music personality.

When Renata approached me in order to work on the first ever compilation for Hello Sailor, I knew the selection would end up reflecting this side of me. It had to come from the heart.
It also had to bring to the table something different than what's already associated with Brazilian music, and exploring our own take on the street soul genre sounded good.
It was never done before and it's also faithful to Brazil's musical heritage.

Back in the 80's and into the 90's, it was very common at parties to have a slow dance moment in between the more uptempo sections. A timeout from all the frantic dancing, when people could cool off and flirt in a more romantic way. (It does sound like a great idea to have this intimate just-the-two-of-us moment in the middle of a party; maybe it explains the number of marriages at that time.)
This is a tradition that goes back to the black music balls in the late 70's, which helps to explain why the majority of the early rap acts from Brazil used to have a couple of romantic songs in their albums. When you add to this recipe the power of the mellow pop acts during the aforementioned period, one can realise why it extended its tentacles to deeper depths of pop music in Brazil.

This compilation features some of my favourite music ever, songs that I've crossed paths with in different moments of my life.
Fernanda Abreu, for instance, is a longtime crush - I have been in love with her music since the mid 80's when she used to sing in a band called Blitz, which my mom loved.
Afrodite Se Quiser, on the other hand, created some buzz while the group was active with the minor hit "O Que Que Ela Tem Que Eu Nao Tenho", from their first album (1987), but I didn't know about "Fora de Mim" until 2015. My point is: even if it took me 25 years to find this track, I had a reserved spot in my brain for it and it laid there perfectly as if it innately belonged there.
It's a built memory, and I love playing with this idea when presenting music to people.

Street Soul Brasil is part mellow pop, part R&B, part rap.
One can surely feel a lot of street energy from the B Side. The music reflects the influence of international pop at the time, but it also shows how Brazilians are talented in making any sound their own!

This compilation is supposed to be a mixed collection of songs, something that might trigger the feeling of flipping through an old photo book full of tender memories. These are songs that should speak straight to the heart, music to comfort and heal, music that deals with joy and pain, feelings that I always liked being transmitted through music.
It's among the best forms of therapy. It worked for me and I hope it works for you...

Danny Krivit is currently known as one of the music community’s greatest purveyors of top quality disco & house as he continues to perform regularly before sold-out audiences around the world. With his unique ear for what works on the dancefloor he has also become known as “King of the Re-edit.”


Danny has a deep connection to Kim English’s “It Makes A Difference” release on Nervous Records from 2006. Krivit worked with writer Kyle Smith on the remixes that originally made this tune an anthem at his 718 Sessions parties as well as one of the highlights of club nights from Tokyo to New York to London that appreciate quality soulful house. The B-side is Danny’s re-edit of one of the most famed dubs from the Nervous catalogue
as well as for the producers Mood II Swing. Upon its release in 1993 this dub emerged as one of the defining sounds of summer 1993 at Ministry Of Sound which had just recently opened the year before. The “rushing rushing rushing” hook is well knownby golden era of house afficianados around the world and he does an amazing job bringing this essential hook.

Recorded in 1972 at the legendary Landsdowne Studios in London, Cosmic Eye is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D'Silva, Cosmic Eye was a highly innovative studio experiment in which 'Jazz Meets World'. Following in the footsteps of other pioneering Landsdowne jazz recordings such as Joe Harriott & John Mayer's Indo Jazz sessions, Cosmic Eye is modal, but is also under-pinned with traditional Indian instrumentation and structure, resulting in a hypnotic, psychedelic jazz excursion.
Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D'Silva's soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integrations, as well as his session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Featuring a host of UK and Indian musicians, Cosmic Eye is a Singular recording from a fervently rich period of British modern jazz. Finally this phenomenal jazz recording sees a legitimate reissue.

Influenced by the social and political climate of the modern
world, MOTSA’s debut album, ‘Perspectives’, is inspired by his
acute awareness of modern society’s dependence on
technology and the social media bubble also responsible for
the civic polarisation seen globally. The 11 track album takes
the listener on an emotional journey with dark, yet hopeful,
detailed compositions, each representing their own personal
story. The title “Perspectives” refers to a problem we all face:
differing perspectives of the same situation, which in turn
leads to conflict, be it in personal relationships, families and
even political discussions globally. With individuals and
groups often losing perspective in disagreements, MOTSA’s
debut LP calls for more empathy, highlighting our current
trajectory of an ego-driven society. Encouraging listeners to
spend less time behind computer screens and more time
outside in nature to broaden our horizons and reflect on
human decisions, many of the album’s samples were recorded
from MOTSA’s own environment. Using the sounds of children playing in the sand on a Balearic beach, crickets in the grass,
or the ambient soundscapes of bells recorded from his
father’s apartment in Moscow, the producer also recorded and
sampled his own voice to create distant, choir-like melodies in
many of the tracks. The artist’s signature sound – a soulful yet
driven harmonic blend – continues to propel the multi-talented
artist to the highest acclaim into 2019 and beyond.

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Amazing and unique private soul/jazz-funk fusion LP, 'New York To L.A.: Coasting' is the first release (1980) on Andrew Scott Potter and David Eric Tillman's PO/ET label. Sublime from the beginning to the end, it has become, just like their second and final release '...Space...Rapture...', a sought-after collector's item.

Andrew and Eric both come from Chicago. They met in the early 70's, shortly after Eric's discharge from the U.S. Air Force. They played together on the local jazz scene for several years (among others, with Maulawi). During that period, Andrew also toured with Minnie Riperton and Eric toured with The Dells, Linda Clifford and others. In the late 70's Eric left Chicago for Los Angeles, when he began touring with The Temptations. Since moving to California Eric has played and/or recorded with a variety of artists, including, Willie Bobo, Justo Almario, Alex Acuna, Norman Connors, Billy Paul, GAP Band, Linda Hopkins, Billy Higgins, O.C. Smith, and many others.

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

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

Keeping the energy high in 2019, Sandilé presents just another excellent deep house record. Youre My Type arrives as a stripped-down junction of heavy chords and charming vocals, evolving into a groovy jam. On the flip, Fu stands out with its unpredictable melody and surprising, but nevertheless refreshing break-beat style influences, complementing a heavy house burner. On remix duty, no other than Detroit legend Big Daddy Rick aka Rick Wade gives his finishing touch by turning Fu into a timeless, soulful deep-house groover, perfectly fitting the cover's image of a rainy morning after another great party in Cologne, walking home along the Rhine.

Corey Fuller Is One Half Of The Duo Illuha On 12k And Break Is His Frst Solo Recording For 12k. A Crashing Wave, The Breaking Dawn, An Impact, The Crushing Of Emotional Spirit... The Breaking Of A Storm. These Are All Relevant Ideas Behind His Choice Of A Title For This Highly Emotional Abum. Fuller Has Addressed The Universality Of Human Struggle Without Going Into Specifcs Of His Own Personal Waves. The Ideas That We As Humans All Share Many Of The Same Diffculties Is Both A Launching Point And A Message He Wishes To Share With Break — The Catharsis.
While Illuha's Music Is Known For Its Attention To Small Sounds And Light Textures, Break, While Equally As Fragile, Sees Fuller Working With Much Heavier Elements. Still Highly Melodic, The Work Pulls And Churns Between Harmony And Tension, Weight And Air, The Crash Of A Wave, The Pull Of The Undertoe. The Album Is Focused Intensely On Melody And Harmony, Progressions More Carefully Composed Than The Serendipitous Found Sound Of His Work With Illuha.
The Piano Is Often At The Center Of These Songs, An Instrument (his Own) That Has Become Much An Extension Of His Own Body. His Own Voice Plays An Important Role As Well, Sometimes Lyrically Ethereal And Sometimes Just A Breath Signifying The Ever-fragile Thread Of Life. Beautifully Recorded
In His Tokyo Studio, The Sounds Are Captured With All Of Their Inherent Physical Faws. As Fuller Himself States About The Piano Being recorded In A Way That You Can Hear The Bones, Like An Open Ribcage, Moving Contorting...' Everything On Break Is There For A Reason, Not Just The Sound And Soul Of The Piano But The Electronic Elements As Well, Rattling Bass Tones And Dramatic, Emotional Waves Of Synthesizer Rising And Dissolving.
If A Single Word Can Be Used To Describe Break It Is Physical. From The Instruments And Techniques Used To Produce The Album To The Concepts Of Vulnerability Of The Human Body. Break Is An Emotional Riptide Where Violence And Rest Struggle To Be The Last Voice.


i) Adrift
ii) Asunder
iii) Aground

RTRN II JUNGLE , the forthcoming album from UK DnB heavyweight trio, Chase and Status, is a cultural movement - inspired by British music and fashion of the golden years of Jungle music from the mid-late 90's. The two opening singles speak volumes on the project's ethos - with the hard hitting 'Retreat' ft. Cutty Ranks echoing in your ears long after hearing and the euphoric 'Heater' taking on the role of a single that already has the makings of a classic - with additional vocal support from General Levy.



The sound, project and accompanying documentary and installation, will draw on Jungle music whilst also transporting it into the present day, and re-vamping the genre for the modern day music fan. 'We will be representing DnB at it's most soulful, raw, and uncut level' (Will Kennard)

The news comes with a brand new documentary from the trio, filmed in Jamaica earlier this year, which has just been premiered by Redbull.

'Misdemeanour' is a truly classic break and has been utilised by Madlib, Big Daddy Kane, Rodney P, The D.O.C, Pete Rock and many more. Danny Krivit edited the track in 2007, adding an acappella version on the front - still a big record with DJ's.

'When I'm Near You' is a deeper cut taken from the 'Foster Sylvers Featuring Pat & Angie Sylvers' LP released in 1974. More beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler, Keg Johnson and Michael Viner.

'Only One Can Win' - brilliantly flipped by J Dilla on his epic 'Two Can Win', that appears on his legendary 'Donuts' LP for Stones Throw.

'Fools Paradise' is a midtempo soul/funk jam taken from the first 'The Sylvers' LP. A favourite at Mr Bongo HQ that we felt needed to appear on a 7'.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

SOLID GOLD SOUL-FUNK FROM THE SYLVERS, TAKEN FROM THEIR DEBUT SELF-TITLED ALBUM. CUT LOUD AT 45RPM.

Two more of our favourite cuts from The Sylvers first album, produced by Jerry Butler, Keg Johnson and Michael Viner, written by the hugely talented Leon Sylvers III.

'I Know Myself' was sampled by 9th Wonder for his 'Easy' track.

Following the completely sold out 'Imagine - A - Nation' and 'Le Fusion' reissues, Anotherday brings you a very special release from the vault of the enigma that is Spencer Kincy, AKA Gemini - we are very proud, and extremely excited to present Gemini's first 4 releases, lovingly re-mastered!

* Originally released on Relief Records; the Chicago techno label headed up by Cajmere, these releases were Gemini's introduction into the worlds of house and techno, and contain some of his most vital works.

* As one of Chicago's most mysterious and revered characters, the story of Gemini, aka Spencer Kincy has become something of a myth in recent years - blazing a trail throughout the 90's, prolifically releasing over 200 tracks from 1994 to 1999, Spencer's music had shades innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared.

* As before, this album has been licensed directly from the man himself, and the money made from its exploitation will go directly to him.

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

World Music And Ethno Sounds With An Obvious Japanese Origin Meet Progressive Rock And Psyche. The Result Is A Captivating Piece Of Melodic And Deeply Atmospheric Music That Paints Pictures Of Life In Ancient Japan Into Your Mind When You Lay Back, Close Your Eyes And Listen Closely With Your Thoughts Turned Off. If Pink Floyd Were Japanese Their Music Might Have Sounded Like That. The Frequency Of The Arrangements On - benzaiten Reminds Of What Our English Heroes Have Created In The Early To Mid 70s Just With A Different Ethnical Approach. - benzaiten Is Even A More Progressive Effort Than Anything Most British Bands Have Ever Managed To Fabricate And Still Utterly Natural And Vivid Concerning The Flow Of The Music. All Participating Musicians Here Are Professionals And Their Performances Are Tight And Still Passionate. The Sound Is Warm And Vivid, The Song Structures Are Wide Open And Welcome You To Slip Inside. East Meets West On This Record And Osamu Kitajima And His Companions Really Grab You By The Soul. Electronic Elements In The Percussion Section Add Some Oddity To The Whole Musical Picture. Not Sure What Osamu Kitajima And His Band Intended When They Recorded This Record But I Am Certain They Achieved It. The Cool Aspect Of - benzaiten Is The Rocking Guitar Which Keeps The Whole Album Together. Must Be The Japanese Pendant To German Acts Like Amon Düül Ii, Embryo And Guru Guru. Well, There Is Definitely Some Truth In This Comparison. Anyway, This Album Will Enchant You!

The wonderfully monikered Golden Flamingo was one of many labels operating alongside the now legendary P&P Records imprint in late 70's to early 80's NYC. Fans of deep Disco, raw gritty Soul and rare as hen's teeth Electro and early Rap know of the cult status of it's brief but influential output and in recent years the P&P label and it's associated entities have enjoyed further popularity through the exposure of it's music by some of the world's most respected DJ's and selectors, and rightfully so. An amazingly lo-fi, endearing and overtly underground aesthetic runs through all of the labels, from the label artwork down to the music itself. This style is evident on Margo Williams' epic 'God Save And Protect All The Children', a colossally rare 12" from back in 1980.
A huge, drifting soulful Gospel number, 'God Save...' has been an oft overlooked gem in the wider P&P related catalogue. Not much info is known about Williams other than she contributed backing vocals to some classic Disco records including Inner Life's 'Inner Life II' and The Salsoul Orchestra's christmas LP as well as appearing on other P&P projects. The production on this record was handled by the absolute powerhouse duo of Peter Brown and Patrick Adams so it oozes that amazing quality that these 2 legendary studio figures brought to all of their projects - the trademark P&P sound. It's all here in this beautiful stirring plea to the lord to look after all of us set to some incredible arrangement and production. It's obvious these self-made music industry legends were at the top of their game back then and one only has to explore the rich and diverse catalogue of amazing music they've given us over the decades. Absolutely essential repress action here.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK. Housed in original 1980 release full sleeve artwork.

A great early album from Belchior - much rootsier than some of his later work, with a groove that almost feels like samba soul at times! Arrangements and music are handled by Marcus Vinicius - who uses quick-stepping samba elements on some of the best tracks, mixed with more modern funky styles in this really great way - which creates even more magic with the hauntingly poetic structures of Belchior's lyrics! The songforms are great - very much in the concrete poetry format used on Caetano's Araca Azul album, but with a warmer vibe overall - on titles that include "Bebelo", "Mote E Glosa", "A Palo Seco", "Maquina", "Todo Sujo De Baton", "Rodagem", and "Cemiterio".

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

Classic funk-soul album, featuring "Misdemeanour". Sampled by Madlib, Black Milk, Pete Rock, Big Daddy Kane, Danny Krivit and more.

Brilliant funk-soul from 1973. Written by Leon Sylvers III, and produced by a heavyweight line-up comprising Jerry Butler, Keg Johnson and Michael Viner.

Official reissue in replica of original artwork

Following the completely sold out 'Imagine - A - Nation' and 'Le Fusion' reissues, Anotherday brings you a very special release from the vault of the enigma that is Spencer Kincy, AKA Gemini - we are very proud, and extremely excited to present Gemini's first 4 releases, lovingly re-mastered and packaged together in a very limited box set!

Originally released on Relief Records; the Chicago techno label headed up by Cajmere, these releases were Gemini's introduction into the worlds of house and techno, and contain some of his most vital works.

As one of Chicago's most mysterious and revered characters, the story of Gemini, aka Spencer Kincy has become something of a myth in recent years - blazing a trail throughout the 90's, prolifically releasing over 200 tracks from 1994 to 1999, Spencer's music had shades innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared.

As before, this album has been licensed directly from the man himself, and the money made from its exploitation will go directly to him.

This box set is limited to 500 UNITS ONLY - the last Gemini reissues sold out 4 x that amount in weeks, so put in your pre orders before they're gone forever.

- Latest ambient work from Fred Welton Warmsley III, formely known as Lee Bannon (hip hop producer and collaborator with Joey Bada$$, Souls Of Mischief, Hieroglyphics, and others)
- Former albums on labels such as Hospital Productions, Ninja Tune, NON
- Has received praise from Pitchfork, NPR, Boomkat

- Northern California electronic producer Fred Welton Warmsley III's solo work as Dedekind Cut
(pronounced dead-da-ken cut') has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like MMXIX' and Spiral' but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

- Warmsley characterizes Tahoe as a time peace,' sifting through the past, the present, future, and fantasy.' Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.

Selection of obscure and underrated Country-Funk, Blue-Eyed-Soul, and other swinging Rhythm & Blues oddities from the Sixties and Seventies. The tunes on this album are as good as those by famous artists like Little Richard, Jerry Lee Lewis, Tom Jones, or Jack Hammer.

Our sixth release is two previously unreleased versions of 'Signs Of A Dying Love' with the A side being much slower in tempo than the vinyl release on OTB Records. Whilst on the flip the song appears to be the same as the OTB records version, but without the spoke rap at the beginning. This is a timeless piece of soul music that deserves a wider audience.

This is available for pre-order and is a Love Vinyl DRS Ltd distribution title.

Release number 2 for Burnin Music sees two local heroes of the London underground house music scene, Leonidas and Kay Suzuki, joining forces for a unique project : Synqlock vol II

Hard to describe in a few words 11:24 of pure sonic bliss. With 'Interstellar Meditation' the artists seem to have reached a certain wisdom in the making: rain falling, organic sounds of the forrest and a beautiful analogue symphony. A very very emotional track. A unique journey.

Asteroid (Jackin' Acid Dub) is a short pumped up techno tune which manages to keep the soul from 'Asteroid' (on the flip side) while adding acid elements.

Undercurrent opens the B side with layers of analogue synths on a beatless groove. It feels like the start of an epic journey into sounds where time and space are relative.

With 'Asteroid' you get to full speed: again layers of analogue synths respond to a breathless beat. The hypnotic bassline pulls you to an 'emotional' dancefloor: it is not only a 'dance' track but also feels like an emotional experience.

Fernando makes his debut IIB release with the 3 track Shining EP.

Side A is the home of the truly epic title track Shining. An 11 min super mellow hypnotic trip.
Driven by rolling bongos and bassline some funky guitar and delay soaked effects. A real gem.
The b side Fernando pitches up the tempo.

Horizonte Rojo is a cruising deep balearic house groove with the same dubby feel as Shining.
The final track is karmic a soulful disco tinged after hours house groove.
Island music for day and night. Dive in.

* Following the completely sold out Imagine - A - Nation reissue, Anotherday is very excited to announce a series of releases from the enigma that is Spencer Kincy, AKA Gemini - we are very proud to present Gemini's first 5 releases, lovingly re-mastered and pressed back onto vinyl! First up is Le Fusion.

* Originally released on Cajual in 1995, Le Fusion pairs Gemini's signature edgy techno tinged house bump with live instrumentation and frantic vocals over 3 untitled tracks in one of his most interesting releases.

* As one of Chicago's most mysterious and revered characters, the story of Gemini, aka Spencer Kincy has become something of a myth in recent years - blazing a trail throughout the 90's, prolifically releasing over 200 tracks from 1994 to 1999, Spencer's music had shades innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared.

* As before, this release has been licensed directly from the man himself, so unlike some other reissues out there, the money made from its exploitation will go directly to him.

* Imagine - A - Nation sold out almost instantly, and this is set to go the same way, so get your orders in early to avoid disappointment.

Wizards of Ooze was a Belgian band that released 3 albums between 1994 - 1999 and toured the whole of Europe. The bands sound is a mixture of different genres, combining elements from primarily soul, fusion and psychedelica. The Dipster was the bands debutalbum.

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

In the years since the release of Adrian Younge's Something About April, he has been coined America's black genius: the evocation of analog vestige in a digital era. His majestic music has garnered him reverence, likened to Ennio Morricone's best work and the Beatles' tenacity to create new sounds. Fortuitously, Something About April has made an indelible impression on modern vinyl heads and producers alike, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. The Something About April brand is an axiom to the modern 'Breakbeat' and Linear Labs is happy to announce its successor: Something About April II. Recorded with Younge's collection of rare instruments, Something About April II advances his musical paradigm with enterprising concepts and grander compositions — it synthesizes the boundaries between dark American soul and classic European cinema. With effervescent conviction, Younge executes with an array of entrancing vocalists: Laetitia Sadier (Stereolab) and Bilal perform duets on 'Step Beyond' and 'La Ballade,' reminiscent of Serge Gainsborg and Jane Birkin; Raphael Saadiq blends 'Black Jazz' vocals with psychedelic soul on 'Magic Music;' Israeli star, Karolina, delivers haunting chants over concertos like 'Hear my love' and 'Winter is Here;' Loren Oden croons as if the apparent ghost of Donnie Hathaway created one last love song, 'Sandrine.' Younge is the experimental spirit of the modernist vanguard, looking at the past to create the future. What this album extrapolates, from vinyl culture, will become further magnified by its sampling down the line. Something About April II will replace the former as a holy grail for producers and collectors alike.

Anyone who knows Soul Intent's music will know he loves to dig into the hardcore, rave and jungle archives. Now he's taking it a step further by launching Dope Plates, the second sub-label to his Lossless Music imprint. Expect early 90s influenced Drum & Bass and Jungle, drawing from the foundations set by legendary labels such as Metalheadz, Reinforced, Moving Shadow and Good Looking. As for the logo (yes we know it's awesome) it was designed by Art Jazz from Genaside II... see, we really went in on this!

limited to 300 copies
New EP by Alixander III. After AZARI & III have finally split up, main man Alixander III joined the Toy Tonics records crew. Like his first TT release also this new one consists of raw and heavy machine funk. It's techno - but with a heavy dose of soul! The one that makes you swing. Not stomp! 'Heavy Friends 2 is a collaboration featuring guest vocalists and producers from his hometown of Toronto, Canada. A tight package of vintage, old school, Detroit soul techno. Bulging with hooks and unusual textures. A vast soufflé of bittersweet melancholy, a polished yet irreverent statement that congeals the far-reaching influences and intricate techniques that have defined Alixander's work since long before Azari & III met the world.

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

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

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

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

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

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

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

Late Night Tuff Guy returns with TUFF CUTS #2 !! This time he drops 2 classic re-interpretations of Chaka Khan and Soul II Soul !!
Pressed on 12 inch Vinyl with a hand stamped label and in a white card sleeve with paper inner.

Aroy Dee's MOS Deep returns with a new EP from Italians Ksoul & Muteoscillator, both of whom have appeared on labels like Uzuri and Ksoul's own Kinda Soul with a gauzy, dense sound somewhere between techno, acid and full on electronica.
'Criminology' comes in two parts on the a-side: the first is a fizzing, almost impenetrable network of analogue lines with acid buried deep below sharp percussion and behind a mysterious little melody phrase, whilst the second features a different sort of acid: it's brighter and seems to twist and turn with a life of its own.The b-side is 'Aphrology' as edited by Aroy himself. The underlying vibe here is house, though a squealing world of ticking machines, squirming synths and jangling percussive rhythms make it a heady and intense listen.Finally, the same track appears in its original form where tumbling drums, bleeding acid and a steppers rhythm join the dots between many different worlds: the heady results are sure to make dancefloors go cerrrrazy.