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This debut album, by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are coloured with carefully-tuned atmospherics, individual flashes of brilliance are bound into the album's bigger picture.

He's part of London's young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It's playing with those - along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch - which has honed his playing and grown his ideas.

It's made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it's also a testament to hard-earned, head-turning musical virtuosity.

After taking time out to search for the right blend of carefully curated tracks, Bristol-based dancefloor futurists Innate return with a third multi-artist EP - shot through with melody, warmth and soul.

A quartet of timeless-sounding tracks full of stargazing sounds, undulating acid lines, far-sighted electronics and crackling beats, the A side kicks off with Perseus Traxx's "Drifting In Space": a loose-limbed exercise in analogue house deepness that wraps slowly shifting pads, meandering melodies and pulsating TB-303 motifs around broken house drums.

Welcoming Australian scene stalwart Ewan Jansen to the fray with "Sinders", he effortlessly blurs the boundaries between far-sighted, Motor City style techno and the kind of head-in-the-clouds analogue sounds that have always been his forte.

On the flip, Reedale Rise adds his touch with "Coral". In keeping with the brilliance of his 2018 debut album "Luminous Air", he drops a colourful, picturesque voyage into deep electro territory rich in ear-catching melodies, engaging chord sequences and crunchy machine percussion. To round, label co-founder Owain K returns with "Teifi", another ultra-deep treat: an enveloping, dancefloor excursion rich in fluttering lead lines, slowly expanding chords, vintage bass and punchy drums. A fitting conclusion to Innate's latest immaculate, eyes-closed voyage."

- non-gatefold sleeve without 7"

Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across thirteen tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

There are irresistible calls to the dancefloor: 2000 Black’s UK boogie and the syncopated rhythms of WaH-chU-kU nod to the West London sound, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow, the ambient spiritual jazz of bandleader Carlos Niño & Friends, and the lament for the Amazon rainforest by Azymuth’s drummer Ivan Conti can channel the overall spirit of group interplay and solidarity. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

"This is the compilation of the year!" - DJ Spinna

ALEX ATTIAS presents his new single featuring GEORGIA ANNE MULDROW on vocals and KID K playing soulful jazz keys . The track is simple and groovy , warm and soulful, exactly what Alex is into right now . Alex is very happy to have Georgia Anne Muldrow singing on an uptempo track and Kid K playing Rhodes , analog keys and moog bass. Theres also Cicco the percussion man laying great congas and percussions as well as Arthur Donnot young musician on sax giving the track a live jazz dimension.The B side is a dub instrumental to get the musical vibe of this track made with love . Another great release for Visions Recordings in 2019. Watch out for more goodies in the near future .

The 888 Miles E.P. includes two original tracks, 888 Miles and 777 Miles, which both develop a psychological tension that leads to moments of euphoric liberation where the synths soar and allow the mind the wander, accompanied by a rhythmic groove. There is a slightly different sensitivity between the two tracks that you'll can easlyer constat. Then, don't forget, even if the approach sounds different, the soul remains the same. The other original track, 000 Miles, places you on a spacecraft, with ambient musicality sounding like it could have been generated by hydraulic pipes or air conditioning. This E.P. release also includes '888 Miles XXX Reshape', a deep techno remix by none other than the awesome Francois X. He's probably the best person to describe it: "I've known David & Kevin (Klash Point duo) for a while now and when they suggested that I produce a remix for them, it was natural to say yes. It's funny how this piece of music saw the light, as it has a completely altered tone from the original. It's definitely one of my funkier tracks, with trippy and bluesy vibes - like a trip deep into the wild."

Intheboothsteps up with a diverse 3rd release. Nat Wendell kicks it off with a deep, bumpy groove complimented by a hint of soul. Alex Arnoutsteps up with a sleazy, rough, analogue type track to close the A side. The flip sidesees a Paolo Rocco edit of a remix Pijynmandid for Chez Damier and Ben Vedren'sproject H2H, while the record closes with a Pijynman original filledwithcorky jazz samples and chops. All in all the label sticks to it'sroots style selectionthatcatersstrictly to the house heads.

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.

Lost Soul is an uptempo funk song recorded and written in Kunming, China with a killer breakbeat that has already become an underground hit in the b-boy scene, finally receiving a release on 7" vinyl via Dinked Records. DJ DSK, The People's Rhythm & Angela Cory penned ideas for the song while touring the Chinese club circuit together.

DSK then approached different musicians living in different parts of China at the time for their help in recording the song. The song has been played at many high level b-boy battles including the final of the UK B-Boy championships by DJ Renegade.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with the fourth instalment of his popular 'My Life at 45' series. Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

A-side 'Boom!' features the vocals of the UK's leading blues & soul singer – John Turrell. Mr Turrell recounts the sorry tale of a man who has burned the candle at both ends, leaving him with just his recriminations and a great slab of wax on his hands.

As always though, with JT, it's delivered with humour "I've got the Tuesday tears, got the Wednesday woes – my serotonin too low …"
On the flip 'Steppin' In' is a low slung beat fest that is guaranteed to make your head nod, as piano, guitar & Hammond ride a tight jazz funk groove.

The Godfather of the Montreal disco Robert Ouimet was a resident DJ at The Limelight between 1973 to 1981.
Basically this man got history!

After a fine release on Basic Fingers last year he now got two funk-disco edits for GAMM. On the A side Robert takes on a classic, Yellow Sunshine by Yellow Sunshine (translated in French on the release) which was a well established b-boy anthem as well as a classic cut for DJs like Danny Krivit and David Mancuso.
On the B, we find another obscure funk-disco jam packed with soulful vocals, moog synths and big disco breakdowns.

Another G.A.M.M sureshot !!

Die 11 Neuen Songs Auf "everybody, Anyone" Wurden Wieder In Paul Wellers Black Barn Studios In Surrey Aufgenommen Und Von Den Beiden Stone Foundation-gründern Neil Jones Und Neil Sheasby Produziert. Selbstverständlich Ließ Es Sich Paul Weller Nicht Nehmen Auch Diesmal Wieder Mitzumischen Und Steuerte Piano, Gitarre Und Background-vocals Zu Diversen Songs Bei. Weitere Feature-gäste Sind Dr Robert (blow Monkeys), Mick Talbot (the Style Council), Hamish Stuart (the Average White Band) Sowie Die Britische Singer/songwriterin Kathryn Williams. Entstanden Ist Ein Neues, Grooviges, Songbasiertes Meisterwerk In Bester Britischer Soul-tradition. Ps: Das Streng Limitierte Cd+dvd Format Enthält Eine 31-minütige Dvd Mit Einem 12-minütigen Making-of Des Albums Sowie 3 Videoclips.

Total Refreshment Centre is proud to present a brand new mini-LP from Neue Grafik Ensemble entitled 'Foulden Road'. French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a, CoOp Presents and Wolf Music.

His sound is a hybrid of jazz, house and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London sounds like broken beat & grime thrown into the mix. In his own words "this mini album has been conceived as a journey from Deptford to Dalston, right through Peckham. During a personal period of transition, I put this music forward at a crossroad of all my influences, taking the time to share and experiment with a band more than that, an ensemble. The idea is to incorporate musicians with their own sensibilities, collaborating together as a reflection of our society; unreal & rebellious, but with magic moments, and full of hope.

The best representation of that is Total Refreshment Centre. This building and its community were a perpetual source of inspiration for me over the past two years & gladly allowed the creation of this project". Having been first properly introduced to the community of the TRC during an after-hours jam, it came to TRC founder Lex Blondel's attention that New design had some exquisite compositions of his own. A few weeks later, it was decided that Neue Grafik would form a band and that they would do their first gig at TRC, a week after the first day of rehearsals. No pressure … Lex continued; "we paired him up with Emma-Jean Thackray, to arrange his compositions for a quartet, added Vels Trio's Dougal Taylor on drums, Matt Gedrych from MaddAddam on bass and Jordan Saintard on sax.

Then the band got to work…" Title track 'Foulden Road' commences the session in truly energetic fashion, named after the street in North London where TRC is based, and where these sessions were largely laid down. Keeping with the geographical vibe, next we have 'Dalston Junction', a two-part affair starting on a sci-fi boom-bap tip, before switching to the ethereal flute playing of Brussels musician Esinam, and the first outing on the collection for Brother Portrait.

'Voodoo Rain' is next, a sweet slice of afro-funk, featuring the incredible talents of London's own Nubya Garcia on sax, and the tempo picks up once again for 'Something Is Missing' - this live version comes from the afore-mentioned infamous first gig at TRC.

The goosebump-enducing vocals of Melbourne soulstress, Allysha Joy, set off the second half of the record with the beautiful downtempo track 'Hotel Laplace', recorded at a live session at Giant Steps, before kicking the energy levels back up with 'Hedgehog's Dilemma', once again featuring the vocals of Brother Portrait, as does the closing track, 'Dedicated to Marie Paule', a mid-tempo piece akin to 90's golden era jazz-hop, bringing the set to its conclusion.

This collection of tracks reflect the many moods and various genres indicative of Neue's creative approach illustrated above.

"When You Died" is the first single that anticipates The Dining Room's next full-length album, four years after "Do Hipsters Love Sun (Ra)?".

Side A contains the original version of the song, a funk cut with a 70's psychedelic taste, featuring Sean Martin on some vocals. On the flip-side (Side B), the same track has been reworked by 'Massimo Martellotta' (Calibro '35) to become an compelling disco soul midtempo tune.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Opolopo’s impressive musical career spans over more than two decades, covering the spectrum of Funk, Soul and House.
With releases on prestigious labels such as Om, Tru Thoughts, Local Talk, Z Records, Especial, and a DJ diary spanning destinations from London to Tokyo, he has the perfect musical pedigree to create the very best, blissed-out, beats.

Toolroom Records are proud to present three brand new exclusive productions from Opolopo ‘Sickla Side Push Shuffle’, Groovitational Waves’ and ’Aqua Lung’, all of which showcase his unique, signature sound taking you on an astute musical journey with interesting harmonic melodies and plenty of groove.

Two years after an acclaimed first album, Al Sunny and Favorite Recordings proudly present Planets, carrying on their collaboration and bringing it to another level.

Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs’ melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings.

It resulted in 2017 in Time to Decide release, a dazzling first album establishing Al Sunny’s music and writing style, looking towards the 70s and 80s Westcoast movement, infused with Blue-Eyed-Soul, Pop and Folk flavors. Built on the same influences, Planets is made of 8 new compositions (including a CD and digital bonus), and is clearly a continuation of its cadet, asserting Al Sunny’s talent and singing skills.

Fully recorded live and analogic in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars and keyboards harmonies, Planets just perfectly meets the AOR and Modern-Soul golden era standards.

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.

A chance meeting in a New York club led to the conception of Mowgan’s debut album, in collaboration with renowned African Benin-born Nigeria raised singer and multi-instrumentalist, Kaleta (Leon Ligan-Majek) an ex Fela Kuti, Sunny Ade, Lauryn Hill cohort who also fronted Akoya Afrobeat Ensemble and presently heads up a 70s style afro funk band called Super Yamba based in NYC.

The Frenchman was working at Lina Frey when he overheard a Beninese salsa singer called Laurent Hounsavi channeling Afro-centric vibes through his performance. He approached the singer and was put in touch with Kaleta, who lives in the Big Apple, too. What happened next was pure magic, as the two men got to work in the studio to bring their two worlds together.

It’s the kind of mystical alchemy that only happens once in a blue moon; Kaleta was given carte blanche over Mowgan’s extensive collection of Africa-inspired electronic instrumentals.

He selected his favourites and performed on each one, delivering an original vocal, and his own guitar licks, over the top. To stir up even more electrifying vibes, Kaleta also invited several of his talented friends to join the recordings sessions - they included vocalists Shade Myers Emmanuel, Justin Masters and Gbenga Wise, Freddie Deboe on sax, Mic Dada assisting Mowgan on synth pads and Takuya Kuroda, the infamous Japanese trumpet player from Kobe who specialises in neo-soul, hip hop and electronica.

The result is ‘Karoussel’, a vibrant, dynamic, soul-enriching hybrid between electronica and deep African musicality that sets the standard for contemporary collaborations between western and African artists, and the first in a series of album projects from Mowgan on his fledgling label Mow Records...

It's been 20 years since 'Soul Brother Records' first celebrated the music of Leon Thomas with the "Anthology" collection.
It is also 50 years since the acclaimed avant-garde jazz singer first recorded "The Creator Has A Masterplan" with Pharoah Sanders.

Today his music is as renowned and sought after as ever, and the time could not be better for the pairing of these two songs on 7" single.

Both come from his time at Flying Dutchman in the early 70's and fully reflect the individuality and creative spirit of this masterful vocalist.
Both tracks are reissued here for the first time, originals commanding a sale price of £50.

They Say: “Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style”.

We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

They Say: “Composite themes and incidental cues for dramatic application”.

We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like Beat Incidental, this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

The Hunter (Drama Suite) / Adventure Story is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

As with all of our KPM re-issues, the audio for The Hunter (Drama Suite) / Adventure Story comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

They Say: “Documentary and industrial underlays for current themes of modern life”.

We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb.

This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop.

The record comes galloping out the gate with a pair of rapid synthy-eurodisco bombs - the title-track and “Panama” - before slowing down to a woozy pace on “Inorganic Matter”. “African Nightclub” sounds like it reads, and is a particular favourite of Prins Thomas. Indeed, it was used to great effect on his seminal Cosmo Galactic Prism mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of “Grease Plant” before “Southerly” lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys.

For us, though, it’s all about the opener to side B: “Mechanical Heart”. Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as “Guitar and percussion, light industrial underlay”. Hmmm. How about, “after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings”. Just wait for those drums at the 3 minute mark…

The beatless ambience and menacing stabs of the proto-electro “Chemical Threat” follows, before the open drums and incredible fills of the metronomic “Steady Going” and fantastically monotonous funk breaks of “Nepal Trek” round out this sensational set.

This is a library masterpiece in no uncertain terms, full of synth funk, afro beats, exotica, leftfield madness, dance floor dynamite and all-around greatness.

As with our KPM and Themes re-issues, the audio for The Now Generation comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metalic silver glory.

IZIPHO SOUL RECORDS are thrilled to be releasing JASON ANTHONEY WRIGHT’S 2008 masterpiece, 'RESET TO ZERO' on a 7’’ single! Produced by Absolute’s Paul Wilson and Andy Watkins, 'RESET TO ZERO' is one of the finest pieces of U.K. retro soul.

The soaring lead vocals, layered over a soulful groove has made this a respected song on the musically knowledgeable rare soul scene, whilst still maintaining that wider reaching appeal a feat only achieved by very few compositions. On the B-Side is the Pete and Steve Lewinson produced Motown flavoured LOOKING THROUGH THE WINDOW.

Two great 'Tom Moulton' Mixes back to back! 'SOUTH SHORE COMMISSION' were a self contacted soul/funk band from Chicago.
They released their one self-titled, Billboard Dance Chart No.1 album in 1975 on Wand Records from which comes the Bunny Sigler composed/produced track “Free Man” featuring Instant Funk.

It was recorded at Sigma Sound Studios in Philadelphia. This Tom Moulton mix on “Free Man” was an original feature of the album and is considered one of the first proto-house records.

ULTRA HIGH FREQUENCY:
More Philly splendor here from 1973 with “We’re On The Right Track” co-written and co-produced by Norman Harris. Mixed by Tom Moulton. Never previously released before on 12” single.

• B Boy Records was a significant player in the development of hip-
hop in the 1980s, but a very short lived label shrouded in mystery.
• This double LP selects the best of the independent label, from the
beginning of the label to including past icons and future legends,
hard-hitting drum programming, synthesize and sampled beats
overlaid with fierce battle rap swagger. This is a snapshot of hip-hop
history.
• The label is best known for issuing the hugely influential Boogie
Down Productions LP Criminal Minded, which is included twice on
this release with ‘The Bridge Is Over’ and ‘South Brox’
• Other highlights include JVC Force’s enduring classic ‘Strong
Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-
female rap Sparky D, 5 Star Moet.

'GO Wax' is a vinyl only record label designed to show off the underground sound that is the life and soul of the Game Over X One Night Stand parties in Ibiza.

The first release welcomes Salty Nuts & BE9 rising star Fabe who has been one of the all stars of the Game Over parties this summer -
The A-Side is straight club cuts designed to blow minds, while the
B-Side shows off the trademark Fabe groove which has made him one of the biggest names in the scene throughout 2019.

Vinyl Only.

Local Talk is back again with a fantastic album from Soulphiction who gets deep, down and dirty with this bumping selection of timeless house tracks across 3 pieces of beautifully packaged vinyl...

Dusty grooves and soulful emotion form the foundation of this release, which also takes influence from Jazz, Hip Hop and Afrobeat.

Soulphiction aka Michel Baumann is one of Germany's most respected artists who is also known under the equally successful and iconic alias Jackmate.
This is the third time Soulphiction has featured on Local Talk including his recent single "Beehive". Other labels to have featured Soulphiction tracks and remixes include Lumberjacks in Hell, Rebirth, Pampa and Philpot Records.

A master of both mood and texture, this release showcases the studio wizardry of a true sound-smith.
Chunky percussion with shuffling rhythms form the backbone of the grooves, which are fleshed out with intricate melodies and funky basslines that move mind, body and soul.

Like the tracklist of a J Dilla mixtape, this album flows with a purposeful care combined with a storytelling blend of emotions rarely heard in a house music long player.

Executed to perfect precision, this album is an instant classic and a must-have for home listening along with a club setting.

Following on from their stunning debut collaboration - “Fragile” on GLOW/3; we announce a full release from Edlan & Djah.
Introducing the Melancholy EP: 4 uniquely intricate doses of futuristic and deep liquid filled with vibe, funk and soul. Proof this Dutch wonderduo are two of the most forward thinking and exciting new talents emerging on the scene.
Make sure you reserve your limited vinyl copy of Edlan & Djah’s new instalment now to avoid disappointment, dropping this November across all formats.

This release marks a new era for Noir Music. We are now fully transitioned into the new soundscapes that will shape the future of the label and what better way to celebrate the new beginning than with a brand new release series entitled “Resolute”. Resolute V1 contains 10 previously unreleased tracks by Wlderz, Nicolas Bougaïeff, Electric Rescue, Wisna, Industrialyzer, Juan Trujillo, Responder, Andres Campo, Ignacio Arfeli and Dominik Vaillant. I

Official first reissue of this Senegalese gem recorded in 1981 and produced by Ibrahima Sylla.

Remastered, available on a limited LP with 4 pages booklet.

At the dawn of the 1980s, Senegal was immersed in the "beautiful era" of Cuban influences, African-American soul and funk.
A group of passionate musician friends want to shine in this construction of a revolution in Senegalese music. Their credo will be to claim a spiritual search, that is the meaning of the word Gestü in Wolof. The group of friends gathers around the young guitarist leader As El Haji Malick Diouf who is joined on vocals by Tidiane Bathily, reinforced by Couri Ndiaye and Abdou Bâ, on drums Abdou Kane, on bass guitar Jean-Pierre Gomes, Madiama Diop (saxophone, clarinet) and finally on tumbas Djiby Ndiaye.
They released their first album Diabar in 1981, recorded at Golden Baobab studio under the direction of Senegalese producer Ibrahima Sylla. This unique record of the group will leave the youthful and dynamic imprint of a Senegalese musical revolution like the Orchestra Baobab or the Etoile de Dakar.

... BLR’s Lyon connects Ethyène and Saint Paul unite for a split 4 tracker soundly in the tasteful disco house vein of their Moonrise Hill Material crew.

MERRY CHRISTMAS EVERYBODY!
Let's celebrate the most peaceful time of the year with this fantabolous double-sided soul bomb! "Christmas Is A Drag" starts with a monstrous open drum break and goes straight into a 1960s boogaloo-type funk track! The b-side is a fierce instrumental which might even appeal to the open-minded Northern Soul crowd.

The perfect gift for your record loving husband! Limited edition too!

Sly Stone is a songwriter and record producer, mostly famous for his role as front man for Sly and the Family Stone. The band played a critical role in the development of soul, funk, rock, and psychedelics in the 1960s and '70s.

Sly Stone was identified as a musical prodigy at a young age. By the time he was seven, Sylvester had already become proficient on the keyboards and by the age of eleven he had mastered the guitar, bass, and drums as well. While still in high school, Sylvester had settled primarily on the guitar and joined a number of high school bands.

In 1993 he was inducted into the Rock and Roll Hall of Fame as a member of the group.

High On You (1975) is the first solo album by songwriter and multi-instrumentalist Sly Stone. For the most part Stone performed a large part of the instrumentation for each song on his own by using multi-tracking. The album prominently features vocalist Rudy Love and includes the singles I Get High on You', Le Lo Li' and Crossword Puzzle'.

Ahead of the 5th Blackpool International Soul Festival in June 2020, Expansion are pre-releasing a re-release from one the participating artists, the amazing Maxine Brown.

“Let Me Give You My Lovin’” is one of her most classic songs, originally released on Wand Records in 1966.

Original copies are worth over £100.

Being heavily influenced by the house sounds coming from the U.S. past and present it should not come as a surprise that Red D‘s WPH imprint is launching a new 12” series on which his favorite producers from Detroit, New York, Chicago and beyond get to shine in all their glory. A whole slew of Detroit and New York friends of the label have already confirmed to take part in this series, so good things await us!

But to kick things off we are extremely happy to present label boss Red D’s collaboration with Reggie Dokes, who has been a WPH regular since the very early days. Reggie Dokes and Red D a.k.a. RD² team up for three tracks full of electronic soul and analogue dirt, ranging from the ethereal beauty that is ‘Sharing Angels’ to the minimal dance of ‘Beyond Borders’ and the tribute to their respective cities of birth ‘From D To Shining D’. To complete the E.P. Reggie contributes the solo track ‘Birth Day’, bringing his trademark deepness to the table.

Time will tell if there was a better way to start this new series on WPH, but we are pretty happy with this one as it is. Stay tuned for more and enjoy!

Lefto: ‘Sharing Angels’ & ‘Birth Day’ are my favourites!

Red Rack’em: ‘Beyond Borders’ & ‘Birth Day’ for me. Loving the chords and choppy melodicness of them.

Satoshi Fumi: I really love ‘Sharings Angels’ & ‘Beyond Borders’. Timeless tracks!

Fabrice Lig: ‘Sharing Angels’ is magnificent!

We're proud to present these four tracks of pure electronica on a Ferox debut EP from Macedonian maestro Mihail P. Despite his young age, it's easy to hear the influence of 90's UK techno in this release with a slight hint of Terrace and Dan Curtin.

With five quality releases under his belt, Mihail is already fast becoming a favourite on the underground electronic scene and obviously injects his own techno soul into his productions. Available on 180g vinyl only.

Acid lines, skipping snares and Chicago basslines define the longtime audio sonics of veteran DJ BOO WILLIAMS (aka MOONMAN) on this limited & stamped one-sided release of "OUTER LIMITS", a spacey affair of electronic soul and movement.

Redsonja Records brings to light reference number 16, held back until now, as to date 18 of our catalog has already been released. Visionary 01 is an EP by VVAA released on vinyl and digital format which showcase new a graphic identity of Redsonja Records: the warrior. In addition, RS16 also includes a future reference: Visionary 02. The four producers that participate coincide in several aspects related to the concept we believe in as a label. They all possess a kind of "divine touch" when producing their tracks, you can tell they all work from their soul. Jose Rico presents a track title ‘Discotime’, deep rhythmic cadences in the purest Detroit style; clean, bright, and delightfully mischievous sounding. Analogies intentionally created, synths that cross each other with elegance and leave space for all the necessaries. The result is an essential track in any relevant music collection. It takes us to other worlds that are more relaxed, more divinized, more colorful, more leisurely ...

Elkka - the London based DJ, producer and founder of record label and DIY art collective femme culture - has announced her latest EP ‘Every Body Is Welcome’ on her imprint, following a very strong year constallated of live perfromances and DJ sets throughout Europe, and a growing radio presence in London and beyond.

‘Every Body Is Welcome’ will be released on 22nd of November. Smudging the boundaries between eras and styles, Elkka’s free-wheeling dance tracks float between club beats, earthy sounds, full of warmth, soft edges and lovely instrumentation which all lead to a completely captivating and blissful listen. The infectious new five-track EP looks set to further solidify her status as one of the artists changing the shape of dance music in 2019.

The EP kicks off with an acid-sounding dance thumper that elegantly moves along the piano melody, for a beautiful house start to the whole project. In typical Elkka style, the EP moves from the atmospheric, sun-soaked rhythms of ‘Compromise for What’ and ‘LVURSLF’ Interlude, to the more club-oriented, 4am nightscapes of ‘Avant Garde’ - ending with ‘Breathe’, the perfect union to these two different sides of her artistry in one elegant, thumping, soulful track.

‘Every Body Is Welcome’ was informed by Elkka’s own deeper understanding of who she is as an artist and what the dance floor means to her, claiming that “​Arriving in London in my early 20s I was a completely different person in every possible way and discovering club culture, the rave scene and queer spaces allowed me to explore myself fully as a woman and as queer person. For me, the dance floor has been a place where I have felt the most liberated, the most myself, unified with friends and strangers by the music and moment we are sharing. This EP is a celebration of those moments, of the dance floor, of dance music that has inspired me creatively and personally. Every Body Is Welcome symbolises what I hope the dance floor to be - a music utopia or haven, somewhere for everyone to feel safe to express themselves, to find themselves, to be whoever they want to be and feel part of a community of acceptance and tolerance. Idealistic? Yes but I think art should be a space to express idealism and where we hope to be.”

Her previous EP​ ‘​Full Circle​’​, released via femme culture, received acclaim and support from Annie Mac, Pete Tong, Tom Ravenscroft and Elkka was also named as one of the artists to watch in 2019 by ​Mixmag​. In addition, Elkka has garnered playlist and radio plays from acclaimed producers Four Tet, Floating Point’s and George Fitzgerald.

Elkka founded the femme culture label and collective in 2016 in response to the lack of support for womxn DJs, producer and artists, later teaming up with fellow DJ and creative Ludo who she now co-runs the platform with. Since then, the progressively minded collective have been swiftly gaining recognition with their boundary-free ethos that champions women, women-identifying, artists and the LGBTQ+ community whilst pushing forward-thinking music through their carefully, curated club nights and events.

Earlier this year they released their second label compilation ‘HeForShe x femme culture.’ Compiled in aid of the UN Women, the compilation featured fresh new sounds from the likes of Lone, Elkka herself, Martin Bootyspoon, India Jordan, Ouri, Nightwave and more - and earlier this summer they hosted their annual alternative Pride after-party ‘PROUD’, in which all the proceeds went to The Albert Kennedy Trust (a charity for homeless LGBTQ youthsworthy causes).

With its latest release Matasuna Records continues to explore contemporary Afrobeat from different countries. After the last trip to the Swiss Mittelland, this time the journey goes across the English Channel to discover more new & authentic Afrobeat and serve it on a tasty vinyl single.

Heroes of Limbo is a new studio project from long-time collaborators, producer and multi-instrumentalist Glenn Fallows (The Impellers, Disposable Breaks, Andres y Xavi) and trombonist/arranger Gram 'Canyon' Treldavs.

Reimagining classic and contemporary pop as authentic 70's Afrobeat and Highlife from Nigeria and Ghana, this first release asks you to fire up your time machine in your mind and wonder what would the Happy Mondays sound like if they'd played at Fela Kuti's Afrika Shrine, rather than Manchester's legendary Hacienda Club? What if Disclosure were not a Mercury Prize-nominated electronica duo, but a Highlife Orchestra based in Accra, Ghana?

Madchester Woman takes Ebo Taylor's African Woman and uses it as a chassis for a cut 'n shut reworking of Happy Mondays' 1990 classic 'Loose Fit' - a hot and explosive mixture as you can easily hear!

White Noise, featuring vocals from Clair Fallows (The Impellers, Soul Grenades), re-works Disclosure & Aluna George's electro-house anthem into an uplifting slice of afro-disco dancefloor shuffle.

Domino introduce 'Devotion', the hugely
anticipated debut album from one of London's
most exciting underground talents, Tirzah.
Arriving on the back of a lauded run of releases on
Greco Roman, 'Devotion' shines a brilliant new
light on Tirzah's unique experimental pop,
exquisitely soulful voice and potent contemporary
lyricism.
Written and produced in collaboration with
longtime friend and collaborator Micachu,
'Devotion''s hallmarks are rooted in a fresh, raw
emotion and feeling.
CD and heavyweight black vinyl with digital
download code.

Phillipi is set to release his debut solo EP ‘Amadurecimento’ on November 29th via DEEWEE, the multi-faceted label and creative space operated by brothers David and Stephen Dewaele (2manydjs, Soulwax).

São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters including 6 Music, Mixmag, DJ Mag, PAPER, Tiga and Joe Goddard + more.

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

Belgian imprint Muzik & Friendz returns with the last release of 2019 featuring a 4 track various artist package with Joss Moog, Yusuke Yamamoto, Peletronic & Jakobin and Platzdasch & Dix.

With the forcus set on the deeper vibes this release kicks off with the A-side package of PlatzDasch & Dix’s ‘Pointillist’ a mellow workout sprinkled with melodies and deep vibes, followed by Peletronic & Jakobin ‘Etta Jamz’ a deep and soulful cut with a real dancefloor groove.
The B-side see’s Yusuke Yamamoto’s ‘Kick Ass’ combine an hypnotic pad, bumpy bass and punchy vocals with a wink to the old school, while Joss Moog ‘Oazar’ shows off his exquisite production skills with a grooving and bumping cut.

Airplay on Tom Ravenscroft (BBC Radio 6 Music), Re:lax w/ Re:ni, Laksa & Biggabush (NTS), Gage (NTS), From The Depths with Drakeford (NTS)

Premieres of Four Feet and Blasphemy on Trax Mag and Ransom Note

Review on 2 Hungry Ghosts

DJ support from Midland, Bruce, Re:ni, Troy Gunner, Maya Jane Coles, Minor Science, Via Maris, Mosca, Blackdown/Martin Clark, Horse Meat Disco, Tony Thorpe, Daire Carolan (All City Records), Deft, Phototherapy, Shadow Child / Polymod, Lukas Wigflex, Soulphiction/ Jackmate

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

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.

From the people who brought you Disques Sinthomme and Ghost Town comes a new imprint LESDK.

Bringing back that NYC Lower East Side grime, LESDK will feature edits as well as new work from Dennis Kane and his circle of proper low-lifes...

Ghost Town and Disques Sinthomme featured contributions from Brennan Green, Richard Sen, The Beat Broker, Bicep, Jose Manuel, and Cosmic Metal Mother, as well as edit monsters like Jeff 'The Drunk' Overton and Cazbee. Kane will be helming this label, curating work and providing his own productions and remixes.

LESDK

Starts off side A with 'Real' - A soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. "Now it's time to be real..." Edit as manifesto - Pure heat! The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.

Side B brings 'Action' as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal, "I like to party, I like to flirt..."

Side B closes out with 'Motion', a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along.
This song has heartbreak and the haze of an early morning on the dancefloor.

Three essential edits for the DJ to bless the party people with.

Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.

• Detroit blue-eyed soul from The Flaming Ember, a band who signed to the then newly created Hot Wax
Records (founded by the prolific hit making Motown team Holland Dozier Holland)
• Features the hit single ‘Westbound #9’ (24 US Billboard) alongside ‘Mind Body and Soul’ (26 on US
Billboard)
• Recognised for their contribution to music and inducted into the Rockabilly Hall of Fame in 1999
• The first reissue of this 1970 album on 180g heavyweight black vinyl with printed inner sleeve, and original
artwork

• 1972 Debut solo album from the frontman of Chairmen of the Board
• Featuring ‘All We Need Is Understanding’ and Every Couple’s Not A Pair’
• Fans of Chairmen of the Board will quickly find the sound recognisable, with 4 songs overlapping with ‘In
Session’ and ‘Bittersweet’. The album was produced by Johnson, Mayner, Perry and Weatherspoon
• Detroit soul classic reissued on 180g heavyweight classic black vinyl with printed inner sleeve and original
artwork

• This is Latin Soul from the heart of Spanish Harlem. A non-stop boogaloo party that never lets up with
plenty of cha-cha and funk grooves
• 1966 album sees Rivera making his biggest splash as the bandleader and vocalist
• Album highlights include Includes Do It To Me, At The Party and Drown My Heart
• Boogaloo classic reissued on 180g heavyweight black vinyl with printed inner sleeve, and original artwork

• 1970 debut album from the all female vocal trio, best known for their Billboard #1 smash hit ‘Want Ads’
• Honey Cone were the first signing to Hot Wax Records, created after the prolific Holland Dozier Holland
team left Motown records
• Features the first single ‘While You’re Out Looking For Sugar’ (26 Billboard R&B chart) followed up by ‘Girls,
It Ain’t Easy’ (8 Billboard R&B chart)
• Soul Sister classic reissued on 180g heavyweight black vinyl with printed inner sleeve, and original artwork

Two luscious soul/folk/psychedelic funk crossover jams from LA born Shuggie Otis on Epic, reissued and remastered 45 years after their first release.

Shuggie's trademark soul-laden tones marry with dusty organs and strutting funk guitars to give two blissful slices of '70s gold. A collectable 7 Inch, remastered, reissued and finally available at a respectful price.

Large / dinked centre hole.

"The Red" EP by Dominique Fils-Aimé released on vinyl for the first time with new cover art. Special edition Black Friday 2019 pressing.

Dominique Fils-Aimé is a Polaris Music prize-nominated singer-songwriter from Montreal who draws inspiration from soul icons of the 40's and 60's such as Billie Holiday, Etta James, and Nina Simone. While her musical roots are grounded in early soul and jazz, her sound transcends contemporary urban soundscapes.

Dominique's self-produced debut, "The Red" EP, was originally released in 2015. This new version from KingUnderground has been fully remastered and includes a live version of "Love of Yours" as well as two bonus instrumentals.

Sultry vocals follow melancholy guitar and organ on "Like Mama Said." Dominique's calming voice is akin to a meld of Sade and Amy Winehouse. While the edgy 'When You See Me'' has a hypnotic, catchy groove and chorus, she shows off her versatility with a stripped down, acoustic blues-tinged piece on "Ok With You."

The songs were recorded live in the studio in only a few takes with minimal overdubs to capture the unconstrained depth of expression and natural impulse. The faintest of imperfections in the recordings were preserved in an effort to speak the truth, as the nature of her songs reflect on the vulnerability and strength in each of us and their delicate balance. Dominique unifies each song on the record with empowering lyrics, bringing such a commanding voice and precise delivery, you could almost imagine her singing the theme for a new Bond movie.

This cinematic RnB & jazz-inflected debut by one of Montreal's finest soul singer-songwriters is available for the first time on high-quality vinyl.

Da Lata’s highly anticipated fourth album Birds is a genre busting journey through London Afro-Brazilian soul music.
The most homogeneous Da Lata record to date, Christian Franck has honed his craft and expanded his art to create a glowing testimony from the melting pot of the capital’s musical life.

Gathering his family of collaborators with diverse musical backgrounds in soul, jazz, and gospel as well as African and Brazilian forms, Birds is an album that finally lays waste to that tired idea of World music.

There are tracks that are inspired by Chris’ journeys to the source, there are elegant horn and woodwind arrangements recorded in Belo Horizonte, Brazil, there are lyrics in different tongues, but this is a London record.

Birds is an album of warm organic grooves infused with sophisticated funkiness and splattered with instrumental colour. From the Afro skank swagger of the low slung opener Mentality to the Beatles-esque pathos of the closing title track, it’s a record packed with soulful surprises and beguiling rhythms.

The sound is both intimate and expansive, drawing the listener into Da Lata’s London tropicalia and out into the cosmos.

Birds is an album about keeping doors open and conversation flowing, it’s about survival, hope, family, resistance, awareness, unity and love. 

These amazing Brazilian soul-funk nuggets from Renata
Lú, originally appeared on a 7” compacto and on her self-titled debut album for Copacabana Records in 1971.
The up tempo break-beat funk of 'Faz Tanto Tempo’ has a real dance-floor cross-over appeal and should please Brazilian, funk, hip-hop breaks heads and mod-soul DJ’s & collectors alike.
Renata Lú had a long career releasing records on labels such as Compacaban / CID & Continental through out the 70’s and 80’s and worked as backing vocalist on recordings by Tim Maia and Nonato Buzar.

'Esoteric, modal and deep jazz from the undergound, 1968-77'

Jazzman Records presents the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.
Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz – music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.
The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come.

For his return to Make Mistakes, Derek Russo ventures into the Belly of the Whale with three pieces of beautiful, retro future, dance floor chic.

Embryonic Speck opens up the record, evoking classic rave beats, in a crisp, clear, modern style. With this cut, Derek has crafted a late-night slayer for the discerning dance floor. A relentless groove drives the track along, creating the hypnotic, smoky dreams of rave’s past.

Night Sea Journey takes it down into disco depths. A wandering bassline swaggers through the track, crashing through dark waves of sound. Sexy and mysterious, made to drag the sweaty sea on the dance floor through the night.

Straddling, a piece of timeless, familiar house music, rounds things out by bringing in a touch more warmth and whimsy. Still for the darkness, but with a lighter mood, and booty wiggle bass. Deep, and grooving, with a playful sexiness, what more could you ask for?

“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.

Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”

― Herman Melville, Moby Dick

Continuing the series of single releases from Carlton Jumel Smith's album "1634 Lexington Ave." is a beauty of a track in the form of "Ain't That Love". In soul music guitar doesn't always take lead the way it does here played by Seppo Salmi of Timmion house band Cold Diamond & Mink. You might know those tracks like Darondo's "Didn't I" or "Oh Love" by Iron Knowledge that begin with a guitar line that just freezes the heart.

And there's of course one soulful guitar man we can't leave out here. If Carlton ever put his Bobby Womack to the front, it might be the case with this mid-tempo shuffler. Carlton always sings like he's squeezing the last drops of emotion from the human race, but in this number he's really aiming for the cherry. Cold Diamond & Mink supply the right ingredients for the mix with a strong beat and mellowed out horn melodies.

If there's one single you want to pick from Carlton's album for those Autumn Sundays looking through the window or walking in the park, make it this one.

FUTURE AFRO-LATIN JAZZ HOUSE FROM MASTER PERCUSSIONIST, MULTI-INSTRUMENTALIST AND COMPOSER GABRIELE POSO.

A true multi-instrumentalist, Gabriele Poso found a particular affinity for percussion at a young age, studying in Puerto Rico and Cuba. His latest album ‘Batik’, to be released on Soundway Records, is once again entirely selfproduced and features guest vocalists Nailah Porter, Nina Rodriguez, Quetzal Guerrero & Sofia Rollo.
Following a long-term collaborative partnership with Osunlade / Yoruba Records, as well as albums on BBE and Agogo Records, Gabriele Poso has garnered acclaim from reviewers and selectors including Gilles Peterson. On ‘Batik’, Poso further develops and matures his sound - exploring his extensive roots in Afro-Cuban percussion, while delving into the realms of jazz and soulful house. Much of the album features Poso on not only vocals but many of the instruments - including percussion, guitar and kalimba. With mixing by renowned Spanish DJ and producer Kiko Navarro, the lead single “Africa Linda” is an up tempo live take on Latin house, featuring American-born soul singer Quetzal Guerrero on vocals.

Serious grooves from Muscle Shoals. Gritty Southern-fried Funk and sweet Modern Soul on a limited edition run of 300 copies. Hand-Stamped 7" at 45rpm cut directly from the original 1/4" Master Tapes. The origin of Three Dimension is clouded in mystery. The only remaining artifact: magnetic tape containing previously unreleased material from a 1983 session. The only thing identifying the songs are track sheets housed in a box from the legendary Muscle Shoals' Fame studios in Alabama.

Uptempo funk-soul ’Vou Morar No Teu Sorriso’ is a real favourite of ours and a regular spin in DJ sets. Tough drums, breaks and percussion, big vocals, horns and bass.
Taken from their self-titled LP from 1971.
Dancefloor Samba-funk-MPB business on ’Quem Vai Querer’,
originally released in 1977 on RCA.
A rolling samba groove, layered percussion and a lovely lead vocal from Eliana build into a big chorus and increased drum pressure!

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!

2x12"

A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames.

The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio.

A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters.

A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond.

‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence.

The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career.

On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.

Limited to 500 copies.

2x12" 180g Black Vinyl

Pivotal UK producer Kirk Degiorgio returns to De:tuned for his first new and highly anticipated As One studio album in 15 years. "Communion" covers a broad sonic palette, ranging from jazz and hi-tech funk dancefloor beats to minor-chord symphonies, all coming together "As One". A trademark 90s electronica sound shifting between the mind, body and soul, produced and recorded with Kirk's 25 years of studio work experience.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. On the cover photo you can see on the right side the house of his birth which was also his parental home. The Ghanian legend’s latest release shows off a pride of heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and Disco Ghanaian highlife. Gyedu-Blay Ambolley returns with 11th Street, Sekondi, his 31st album since his debut in 1973. The charismatic stage personality, no stranger to mixing humour into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector’s staple since his appearance on the seminal Ghana Soundz compilation on Soundway in 2002, which re-introduced the world to his trademark ‘Simigwa’ style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularised by artists such as E.T Mensah, before opening up in the ‘50s and ‘60s with a wave of guitardriven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley’s trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Ebo Taylor.

Ambolley’s latest album, 11th Street, Sekondi, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician’s life. Black Woman is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like Little Small Girl showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released on German label Agogo records, after acclaimed 2017 hit, Ketan. It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghana Embassy in Washington DC for producing the first ever commercially recorded rap album.

With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

2LP Gatefold Sleeve.

Lost Ethnography of the Miscanthus Ocean” contains six of their earlier works from 2013 to early 2014. The original release was on cassette from Guruguru Brain which was sold out less than a month. There is a new added D2. Miscanthus Ocean only for the LP version. The album is dedicated to Grass Mountain and the incredibly hot, humid summertime in Taipei. This is also the echo of their instrumental trio period before they moved on to digital composing.

Band Info:
Formed in Taipei, Taiwan in 2013, comprised of member Lu Li-‑Yang and Lu Jiachi, Scattered Purgatory is a name
derived from a Taoist ritual which expiates the souls of the innocent from a state in between life and death and then at last, release.
Growing up in Taipei, where two wheeled transportations are popular, the basin city of such population density and humidity had
inspired their sound distinctively differentiates from the US west coast desert drone. If we use Taiwan new cinema wave in 80s as
the analogy, the massive use of longshots of those films expressed a different halo from the Western Spaghetti; Scattered
Purgatoryʼ’s sound expresses soundscape to the world by using a familiar approach ‒– but with an oriental narration geographically
and spiritually.

The debut album from the American female trio, originally released in 1973 on the Philly Groove Label

Classic Philadelphia sound featuring the disco anthem and title track that peaked at #28 on the Billboard Hot 100 and #16 UK charts. Other highlights include the hit singles ‘Smarty Pants’ (UK #9), ‘Newsy Neighbors’ and Northern Soul Classic ‘This Is The House’

Demon Music are proud to reissue this soul classic on 180g heavyweight vinyl, with printed inner sleeve and original artwork

As we head towards the end of 2019, the CoOp Presents crew unleash a heater for the cold months, and a very warm welcome to the label for Danvers, with an EP entitled 'Light Movements'.

Joe Danvers has been building a diverse catalogue of dance music over the past several years, including releases on FINA Records, Boogie Cafe and Wotnot (his debut release also featured mixes from the likes of Joe Armon-Jones & Warren Xcince). Aside from his solo efforts, Danvers makes up 50% of Kassian, who in turn have dropped releases on Phonica White & Heist Recordings, as well as a series of highly-acclaimed remixes. Their debut track 'The Premise' was nominated as "Track of the Year" at Gilles Peterson's Worldwide Awards.

These various projects have been shown support far and wide from selectors such as Bradley Zero and Detroit Swindle, whilst Danvers & Kassian have been booked for parties across Europe this past Summer. Danvers is also co-founder of Curve Records, along with Luke Campion & Mike Wilkin of Fact / Vinyl Factory.

So to the EP - 4-tracks demonstrating Danvers' flair for eclectic bruk boogie. 'Devotional' kicks off the set, featuring the soulful vocals of Natalie May atop a rhode-laden bubbler. The EP's title track 'Light Movements' follows and is a more stripped-down affair, with big kicks and synth stabs. Next comes 'The Flex', inspired by Selectors Assemble runnings - a tasty stepper with a huuuuge b-line. Finally closing out the EP on a deeper jazzy vibe we have 'Calmer' featuring the don T. Williams.

Expect more big things from Danvers and from the CoOp Presents crew in 2020. In the meantime, get this one on your speakers and watch for the movements. Standardly essential business.

In a turn of events, Startree finds itself wading into the slower, more sensual side of things for its third release, courtesy of relative newcomer and super-talent Nelson Bishop. “Alice et les Aloes“ is a heart-rending, melancholic-yet-propulsive piece which impels the dancer in lovely and unforseen directions. The bass guitar holds the bottom down with a easy-yet-mighty, low-slung sleaze, and the ascending electric piano and keyboard figures joyfully take it to the stars. Soulful with modern-rock edges, this is music which endears itself to the listener on more than one level and for longer than one season.

“Still Life Noix de Coco” is rooted in a stomping Linndrum pattern, vaguely post-punk chorus-y bass and wistful, descending organ timbres. Driving and somewhat mysterious, you would do well to time the release of fog onto your dancefloor to coincide with the airing of this jam. Shoring up the other side is Darshan Jesrani’s take on “Alice et les Aloes.” In this version, Darshan takes the track around the corner, through the unmarked door, past the video arcade and straight to the ideal dancefloor, heaving and smiling, warm with bodies emoting to each instrument as it is given space, by the arrangement, to shine. Startree is proud to present this release as a continuing statement of its musical intentions and its simple desire to inspire and have a good time.

Released in Japan on the legendary Jazzy Sport imprint

180g heavy vinyl, comes with download card

Former member of the Kingdom Afrocks band and one of the most talented artists of today's Japanese music scene, drummer and multi-instrumentalist Naoito creates with "dotA" an explosive and unique mix of spiritual jazz, afro flavors and soul.

Sung in Japanese and English and bringing the very best musicians of Tokyo's underground scene, "dotA" is released in Japan on the legendary Jazzy Sport imprint. 180g is proud to bring to the international audience this essential album of contemporary grooves straight from the far-east!

Pure rhythm & soul perfection from Bobby Bland, an uplifting, call and response number guaranteed to pack the floor. On the flip side, a solemn and soulful workout of the blues standard.

First reissue of this long time looked after Japanese experimental gem from the 80's !

A walk in Paris somewhere between the 30's and the 50's made by a Japanese lost soul. "Montparnasse" by Yoran is a surreal journey into an era which has maybe existed but long gone. A melancholic phantasy about a time you'll never know and can only smell the atmosphere. Memories and flashes come from an ancient time, cobbled streets where heels crack far away surrounded by the tickle of a street musician, a classical dance class directed by some piano notes or an announcement from an old train station. The cryptic french spoken-word infuses the extracts and sound collages taken from different french movies looped into a broken tape player. The result is one of the most mysterious and looked after japanese 80's underground record.This reissue is pressed for the first time on 12" at 45 RPM. Remastered and limited to 500 copies.

12" + 7"

In 2009 Mocky made a radical decision: after having become one of the cult figures of the leftfield Berlin electronic music scene of the early 2000s, Mocky retired his sampler and travelled to Paris to embark on an all acoustic journey with the producer Renaud Letang in the vintage Studio Ferber, previously inhabited by the likes of Nina Simone and Serge Gainsbourg.

Named after a song he made up when he was 7, using imaginary words, "Saskamodie" was an instant new future/retro classic: a return to pure musical expression by a cutting edge artist who was no longer bound by the electronic music scene. "Saskamodie" was a brave step into unchartered waters, the sound of a musician exploring where his talent can take him with rare confidence and authority. At different points you could hear a vintage soundtrack suite, a debonair jazz record (minus the solos) or a golden era '60s soul ballad recording ... yet, as if all these charming stylistic sorties weren't loveable enough, cut "Saskamodie" through the middle and you'll find that sweet, inescapably infectious melody is the lifeblood trickling through its core.

Mocky is listed as playing drums, bass, rhodes, piano, guitar, percussion, bells, recorder, vocals, whistle, organ and toys as well as writing string arrangements. Taylor Savvy, Gonzales, Jamie Lidell and Feist contribute additional instrumental and backing vocal performances that make this record sound more like a live performance than a studio creation.

"Saskamodie" has definitely stood the test of time and Mocky still successfully follows the path he started with this recording - be it on his series of digital Moxtapes, his album "Key Change", his recent "recorded-in-one-day" jazz album "A Day At United", his score for the japanese Netflix anime "Carole & Tuesday" or his writing and production work for the likes of Feist or Kelela.

Originally only released as CD/Digital Download, this 10 years anniversary limited vinyl edition brings us "Saskamodie" in it's original form, re-mastered for deluxe 180g vinyl and accompanied by an exclusive bonus 7" with a new single edit of the album's hit "Birds Of A Feather", a solo piano version of "Guiding Light" by Chilly Gonzales, the recent coverversion of "Birds Of A Feather" by LA's underground funk sensation Vulfpeck and a remix featuring a collaboration with noone less than the Wu Tang's GZA.

"An exceptionally musical album – there’s no other word for it – that could fail to seduce only the hardest of hearing, or the hardest of hearts" (Pitchfork, 8.0 review)

"An amazing record…a big hit for me" (Gilles Peterson)

"If Saskamodie was a film, it would undoubtedly be The Science of Sleep by Michel Gondry. Please take that as a wholehearted endorsement" (BBC)

TXLAX is Dave Aju’s first album in five years, and we couldn’t be more pleased to present it.

As always there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focussed aesthetic - a fitting personal soundtrack for the homecom-ing theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest.

There is a sonic stylistic bridge of sorts between the sister cities on display as well, all im-bued with that inimitable combination of raw playfulness and warm refined soul as only Dave Aju does.

From the soaring West Coast future funk opener “Bird’s Eye”, the nautical disco-not-disco of tomorrow in “Out To C” and the bugged-out broken beat flavor of “Silverfish” to the slick me-lodic electro vibes of the title track, and gorgeous shuffling deep house closer “Yulia”, TXLAX is a masterwork filled with beauty, character, and detail that will reward many repeat listens. We hope you enjoy it as much as we do!

The second release on Freevoyage is from Rokko, dj and producer from Slovenia. Founder of Just Jam collective, based in Ptuj.

It might sound far fetched but here goes: Circadian Rhythms aka Dj Deg brought techno to Belgium before anyone was ready for it. The 1990s collective “Bad Woofers Posse” formed with lifelong friend Mike DMA and their “PK” warehouse parties served as fertile ground for the young producer.
Steeped in this new atmosphere, Deg locked himself up in his bedroom studio at his parents’ place and started developing his interpretation of the freshly imported techno/house sound. In the Belgian way. Combining emotional synth play with neck-breaking drum patterns, sequenced like dreams forever chasing the climax.

BM11 collects six unreleased takes from this almost forgotten period (1989 – 1994).

DJ Support
Ben UFO, Bjørn Torske, Jay Clarke, Cottam, Roi Perez, Fabio Monesi, Len Faki, Dusky, Photonz, Extrawelt, Soulphiction/ Jackmate, Horse Meat Disco, Ernie Guerra, AME / Kristian, Lauren Flax

Ben UFO - “amazing”

Len Faki - "this is soooooo gooood - love the whole selection going
on here!"

Photonz - “Pretty excellent stuff”

Dusky- “Sounding great"

Bjørn Torske - “Now I'm very excited since Orlando is one of my all time favourite artists! After one listen "Cloud Dancing" hits me most but this is a selection that definitely will be with me for a long time.”

High in demand this 7" from LUCID PARADISE (FUNK NIGHT RECORDS): ERIC BOSS/ E DA BOSS and ISHTAR/GIZELLE SMITH. Hot modern soul boogie record produced by SOUL SUPREME (AKA LOVE'S HIGH). B/w "TONIGHT (LOVE'S HIGH REMIX)". Peak boogie delights for a dancefloor near you courtesy of STAR CREATURE!

Founded in 1990, Art of Dance has always been described by it’s founder, Kenny Larkin, as a “phantom label.”

“When I first started Art of Dance, I wanted to obviously release my own stuff, but I quickly learned I didn’t have the time or brain cells to run a label. So I instead licensed my music from my label to other labels. It existed, but it didn’t, in that sense, which is the reason I call it a “phantom label.” Given my low output of music projects, over the years, and my new found desire to put out quality tracks, I decided to relaunch the label, and use it as an outlet for my brother and I to build the Art of Dance brand, and most importantly, release great music!”

For his debut release, Kelvin presents what would be described not as “tech house”, but instead a blend between house and techno. Never straying far from his roots from Detroit, the title track of the single, Tell Me, samples “house diva” Loletta Holloway’s “Sweet Sensation.”

With the interplay between the techno inspired percussion style bassline, and Loletta’s perfectly placed soulful wails, Kelvin creates a beautifully powerful dance floor burner.

“The Force” is all Detroit. Kelvin gives a gentle nod to the past with this slow burner featuring classic 90’s style rolling snares, funky baseline, and horn stabs. This playful track is perfect for buildup for techno or house sets.

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”