Search:studio one

Revered Belgian DJ and producer Mugwump proudly presents his longawaited debut album on his Subfield imprint. An impeccable nine track LP, informed by two decades as a globe-trotting DJ, producing tracks that have inspired everyone from Andrew Weatherall to Mr. Scruff. A mainstay from the Belgian club scene, on the ground in Ibiza in the early 90's, behind the cult Food Club in the late 90's, now running his own Leftorium clubnight in Brussels, with releases on the highly influential Kompakt label but also on R&S, Gigolo, Cocoon, Gigolo, Eskimo, Permanent Vacation or Throne of Blood... Mugwump has the CV to deliver one of the year's most eclectic and inventive studio albums, a timeless excursion into modern-day, leftfield dance-pop and mutant disco with heavy New-Beat influences. Produced with his partner Olivier Grégoire, it also gathers a solid list of collaborators : Circlesquare's Jeremy Shaw (!K7/Output), Brussels guitar wizard Raphael Lee (aka Spookhuisje), Luke Jenner (ex-The Rapture), Norway 's cosmic disco lords Päl Nyhus of Mungolian Jet Set and Tore Gjedrem from Ost & Kjex, Belgian multi-instrumentalist Stephan Fedele, Philip Janzen (frontman of Cologne's Krautrock-Disco band Von Spar) and Sami « Morpheus » Birnbach from 80's cult punkfunk/new-wave band Minimal Compact.

KEY POINTS
-Mugwump's SF001 and SF002 releases have been supported by Pachanga Boys, Ivan Smagghe, Horse Meat Disco, A Love from Outer Space, Huxley, Jack Savidge (Friendly Fires), Sasha, Ben Pearce, Groove Armada, Andrew Weatherall, Erol Alkan and featured in Mixmag, Clash, Ransom Note, Resident Advisor, DJ Mag, Phuturelabs, Insomniac and repeatedly in France's prime-time news show Le Petit Journal (Canal +)

-This album will be supported by a 4/5 piece live band, with SF002 collaborator DC Salas plus Raphael Lee (Spookhuisje), Stephan Fedele and Mugwump, plus a live drummer when possible. Early tryout dates already scheduled in Brussels (23.01 Maison du Peuple/20.02 Central)

-Freeman PR will be handling the full album UK campaign targeting all the major blogs, webzines, specialist and mainstream print medias with also tba UK plugger targeting radios. Two original videos are being finished right now.

-Mugwump co-runs and resides at the highly-rated Leftorium clubnight in Brussels and has a weekly radio show on FM Brussel, running for 10 years now.

LP version comes with free download card.

Radio support from Benji B & B Traits (BBC Radio 1), Nemone (BBC 6 Music), . DJ support from Ben UFO, Joy Orbison, Caribou, Tessela, Mosca, Kowton, Ron Morelli, Bok Bok

Print features confirmed in Groove, Beat Mag, Faze (DE), Tsugi (FR), DJ Mag (IT), Volkskrant (NL), The Gap (Austria)

Print reviews confirmed in Mixmag, The Wire, Crack, DJ Mag, Uncut (UK), Blow Up, Rumore, Rockerilla (IT), Irish Times (IE), Musikexpress, Doppelpunkt, Westzeit (DE), Exclaim (CA)

Online features / premieres: The Fader, NPR, XLR8r (USA), The Quietus, Dummy (UK), Wasabeat (JP),

Hessle Audio are excited to announce the release of the self-titled debut album by Pearson Sound, aka label co-head David Kennedy. Characteristically minimalist in approach, its nine tracks use a handful of elements to craft mesmerising, self-contained worlds, alive with motion and near-subliminal detail: from vast and inky landscapes, to electrifying rhythm tracks, where layers of percussion and bass tumble over one another like rocks in a landslide. Recorded between 2013-4, Pearson Sound documents a distinct phase of Kennedy's studio explorations. "I had a signal chain set up that I was really happy with, and I started sending my machines through the same processes" he says. Expanding upon the techniques underpinning his recent REM and Starburst 12"s, its tracks emerged swiftly through improvised jam sessions, some were captured in a minimum of takes, while others later took shape through extensive sculpting and post-processing. "A lot of it was made by feeding the the same sounds between two different pieces of equipment and they'd end up feeding back between each other and snowballing. On some tracks it's about harnessing that and taking it to the brink before it disintegrates, and some of them are about just letting it go full-blown out of control." The result is a record of striking contrasts: bold, stark and visceral, yet also subtle, harmonically complex and deceptively playful. While Pearson Sound's livewire percussive energy remains inextricably rooted in the club, this exploratory studio process has created Kennedy's most wide-ranging yet coherent body of work to date: a suite of thrillingly impulsive, expressive and open-ended music, untethered from restrictions of form.

Athens of the North is proud to present Milton Wright's stunning alternate version of the now Classic Miami soul LP 'Friends & Buddies'. An altogether more stripped down, folky soul affair than its highly respected, much sampled brother is now available on Vinyl, CD and Digital for the very first time.

Shelved at the last minute then re-recorded and overdubbed, only a few promo copies of this early version escaped from the studio and are deep in the collections of the very few previously in the know.

The master tapes burnt in a fire at T.K Disco in Miami in the early 80s so even the label has not heard this in 30 Years. Many reissues of the second version of Friends & Buddies LP have come and gone, but Milton's original vision has remained hidden until now.

As searingly honest and stunningly soulful as any seminal Marvin Gaye or Terry Callier LP, it stands tall amongst its exceptional peers as one of the true pillars of quality 70s soul.

- Unreleased Alternate version

- New sleeve notes by Milton Wright

- Super-heavy high quality tip-on sleeve!

- Cut by the experts at Timmion Cutting Laboratory, Finland

Released in September 1969 Then Play On was the band's third studio album and their first release with Reprise Records. It was the first to feature Danny Kirwan and would become their last with Peter Green.

Hubie Davison returns to Leisure System December 1st, 2014 with the Khayyam Grey EP, his second release for the Berlin-based label and one that marks both his and Leisure System's funkiest output to date.Following on his 2013 debut of pastoral electronics and muffled house, Khayyam Grey highlights Davison's vivid production skills, drawing from a deep well of influences varying from Werkdiscs and Sound Signature to Bill Withers and Otis Redding. The three tracks here are also the strongest representative document yet of the 26-year-old Davison's DJing, which incorporates all manner of memorable house and assorted wonkiness and has seen him play in Panorama Bar, Corsica Studios, and Gaité Lyrique in Paris amongst numerous others.The title track takes cues from Daphni's stand-up-and-shout, sample-heavy house, while "Get On" is a comparatively restrained yet incredibly funky mid-tempo number. "Vowels", which first appeared as the opening track on the LSR-LSD1 compilation, appears here in extended and altered form, breaking down vocals on a syllabic level from smooth to percussive.These three tracks of addictive house have been on constant rotation at Leisure System for the past few months - it's high time everyone else joined the party

Schlammpeitziger's album yields even more fruit. Six weeks after the release of his longplayer "What's Fruit" Pingipung releases this 12inch EP with remixes. The motley set of six electronic musicians and bands dice Schlammpeitziger's countless melodies into a delicious fruit salad! Candie Hank (Patric Catani) deals with the title track "What's Fruit" and beams the mantra-like vocals of the original unerringly to the dancefloor. Andreas Dorau, the infamous hero of German New Wave music form the 80s, is a year long companion of Schlammpeitziger. He sings about autumn leaves, on top of the instrumental hit "Balcony Sofaune", which is transformed into a disco piece by Dorau's producer sdfkt. (Golden Pudel Club, Hamburg). Springintgut dedicates himself to the complex melodic layers of "Pipe Claphorse", waves a giddy tambourine and tops it off with a three voiced cello chorus. The B side is opened by Mouse On Mars who turn "Balcony Sofaune" into an ever growing and collapsing bass monster, while focusing on the bold brass theme of the original. Thomas Mahmoud Zahl slows it down with a head- nodder. He thwarts the melancholy of "Schneid ein Stück aus der Zeit" with a stoically bouncing beat, which dubs and grooves like it wants to go on forever. Dub-Master hey (one half of Pingipung's Hey-Ø- Hansen) sends the same track through his studio, offers new harmonies with his quiet acoustic guitar and sugars it all with a galactic vocoder.

Maybe this is a mirage, an illusion Maybe we are on another planet, or maybe we are in the spaceship going to another planet Maybe we are all insane Possibilities, an infinite number of possibilities. 'We are in the darkness; nameless things with no memory-no knowledge of what went before, no understanding of what is now, no knowledge of what will be.' - this can easily describe what Absys Limited sublabel is offering us soon with Kontext studio album, 'Dispersal'. Kontext is an alias of Stanislav Sevostyanikhin from St. Petersburg, Russia - well acclaimed DJ and producer also known in drum&bass world as Dissident, who was responsible for the one side of our own first 12" vinyl with his track 'Scarecrow' and for numerous releases for such labels as Hospital Records, Subtle Audio, Counter Intelligence, Alphacut and many more.

'Dispersal', first LP since 2009's 'Dissociate' is Kontext at his finest. Ten track album that cannot be classified in genres, full of drifting through space orbits and dimensions, through newest technologies and our own human nature, through some glitched sonic fields and abyss of consciousness. Production level is high as always on Absys, tracks are kept in various tempos, with many layers and glitches to keep you moving places and enriched with quotes from film classics as 'Twighlight Zone' or 'Pi'.

Coming out with unique artwork by Krik, 'Dispersal' will be available on CD Digi Pack and 10" vinyl sampler.

New York City-based DJ, producer and The Corner label owner Anthony Parasole makes his debut on Ostgut Ton with three new percussive-heavy Techno tracks on the My Block EP.

"Percussive music, that's my ground, my foundation but I am missing the feeling of tribalism in Techno today. I've been using a lot of different drum techniques over the past years, implementing them to Techno. The record 'Quickstrike', that I've released on my own label The Corner, was an edit record of an old sample-based house release. To me this was a test if people would gravitate to this sound and it was the biggest record on The Corner so far. From there I knew I could do this and two tracks off my new EP on Ostgut Ton work like this: 'Typhoon' features bongos, congas and all kinds of skin percussion, 'My Block' uses a different kind of percussive color.

HipHop in general and the Cut-up technique in particular have also heavily inspired me as a producer. During the 1990s music seemed really profound - a little bit tougher too. I listened to a lot of HipHop when I was writing the music for this new release and applied its methods to my own music. Many producers at that time were very forward-thinking. Wu-Tang Clan's RZA uses a sixteenth note technique that made me realize that I wanted this kind of hypnotizing sound to work in a Techno format. Another big influence were late 1970s Horror movie trailers. I was watching them while I was working on 'Bizarre' in the studio, I was inspired to capture the eerie tones and textures of those short clips in 'Bizarre'.

At the end of the day I work within certain parameters. Everytime I make a sample, I drop it into my personal folder - so all my music has a similarity of up to 50 or 60%. Maybe I'll use the same drumkit or kickdrum. I apply limitations to myself, but doing this also gives me my own voice. When I was learning how to produce, Levon Vincent taught me to make my own drum kit, to make my own synth kit and to work within this. Sample-based music is inspiring, and creating something out of found sound is very interesting to me. I think a sound signature is something that will always refine ones sonic pallet and skill set."

- Anthony Parasole, Berlin, September 2014 -

*More classic UK roots gets revived from Partial Records, this time in the shape of a pair
of hot shots from the vaults of the Jah Works stable and roots daughter Donette Forte.
* `Homeward Bound' is taken from the now long-deleted Donette Forte LP from 1991 `Wilderness', and this welcome reissue comes backed with previously unreleased dub cut `Dub Train'
* Mixed and produced by Rej 'Jah Rej' Forte at Channel One UK studio.
* Donette is recently back on the road touring with her new band Urban Lions after an absence of 20 years

With his new album "What's Fruit", Schlammpeitziger touches the dancefloor more than ever before in his 22-year long career. Yet his dancefloor is a playful one. The Cologne based composer's sounds electrify with their multi-layered melodic structures. He weaves countless details in perfection, to a high density of musical activity, always focusing on the slow, driving beats which hold everything together. Each of the eight tracks represents shades of the unique humour we love about Schlammpeitziger: The tricky question about what's those things we call fruit, or his mantric German lyrics on "Schneid ein Stück aus der Zeit" are charming messages which never fail to be heard in the guise of those lovely synth hooks. This new Schlammpeitziger disco has its source in a situation which does not quite promise relaxed creativity: In the past year Schlammpeitziger's studio in Cologne has been surrounded by construction works. Locked up in his private space between massive hums, squealing saws and pulsating jackhammers, he delivers this indeed relaxed album with eight tracks. It comes across with the freshness of a debut work. Contrary to his previous records which had been mostly made with analogue synths, this album has been produced with iPad synths at 90% of the time, before taking the mixes to Stefan Mohr's (ex- member of the band "Workshop") mixing console.

My Panda Shall Fly AKA musician and visual artist Suren Seneviratne, is set to release 'Tropical' It's a brand new 6 track vinyl release.

A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of 'Tropical'. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music, people and places.

The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

Suren Seneviratne, born in Sri Lanka before settling in London in 1996, first caught the attention of the music world with a remix that featured on Pitchfork back in 2010. Since then he has released a plethora of diverse records, gaining support from the likes of Clash Magazine, The Fader, Mixmag and Dazed Digital, as well as regularly touring internationally. He has also remixed the likes of The Weeknd, Stay Positive & Little Boots as well as appearing at festivals like BBC Hackney Weekender, Outlook Croatia & Glade as well as performing at prestigious venues such as The Design Museum, Tate Modern & Barbican.

With the release of 'Tropical', My Panda Shall Fly has yet again set himself apart as one of the most unique contemporary electronic musicians around today.

Das Album von 1984 ist wieder erhätlich! Mit dem schwergewichtigen Rhythm & Sound der Roots Radics im Channel One Studio und dem Mix von Sylvan Morris im Harry J Studio gilt dieser Longplayer als einer seiner besten. Yellowman schaffte es spätestens hiermit große Anerkennung in der US-Hip Hop/Rap-Szene zu erhalten, verbunden mit dem seinerzeit einhergehenden weltweiten Crossover - u.a. machte Eazy E (N.W.A.) den Titelsong "Nobody Move Nobody Get Hurt" zum geflügelten Wort, die Poor Righteous Teachers sampelten die Nummer für Profile Records. Bei diesem Album kommen u.a. folgende Riddims zum Einsatz: I Can't Hide, Answer, Wreck A Buddy, Hill And Gully, Youth In The Ghetto.

Like a bolt from the blue comes this track by Daughters & Sons. An afternoon of fun in the studio with Stefano Giordani and his nylon guitar has needed, to give life to this little masterpiece, perhaps a secret weapon for the summer of 2014. A solar track, enjoyable and danceable, which is already a modern classic.

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

Wiederveröffentlichung des Longplayers aus dem Jahr 1980 mit dem markanten Tony McDermott Albumcover Design. Der Klassiker wurde im Channel One Studio eingespielt und abgemischt, am Mischpult saß der legendäre Barnabas (Stanley Bryan). Also Produzent fungierte Henry 'Junjo' Lawes, als Musiker die Roots Radics in Bestbesetzung (Bass: Errol 'Flabba' Holt, Drums: Style Scott, Santa Davis, Organ: Winston Wright, Guitars: Bo Pee Bowen, Andy Bassford, Piano: Gladdie Anderson, Percussion: Sky Juice & Skully). Mit den bekannten Songs "You Are A No Good" (kam auch auf dem Scientist-Album "Rids The World Of The Evil Curse Of The Vampires" zum Einsatz) sowie "Cassandra".

#3 Live Act of 2013 at Resident Advisor, one of the most in demand remixers around, a total of 156 gigs in 2013, releases for Rush Hour, Ovum, Macro; booked out months in advance from Berghain to Ibiza to the main electronic festivals ... KiNK: Arguably the world of dance music has not witnessed anyone else rising so clearly from bottom to top just by the centrifugal force of sheer talent. Being based in Sofia, Bulgaria, without a support network, a campaign or any media hype, his music alone - live and in the studio - created a momentum whose end we have yet to see. Lenin said: 'Communism is Soviet power + electrification of the whole country.' Hardly did Lenin suspect what an inspired take on these words could do: post-socialist techno. A child of 80's late socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of desaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp.

Limited White Vinyl Pressing!
While some of you might think of Planet Rhythm as one of those old labels from back in the day, it may not necessarily be the correct judgement. Not only is it a product of its past achievements, but it's also pushing things forward in the present time, with Woo York being one of a few new artists emerging from the imprint's recent catalogue. That said, 2014 starts with Ukrainian duo taking over Planet Rhythm headquarters as the label's proprietors and getting in charge of all of its future development.

First out of press is the duo's own EP highlighting their shift towards brand new, hardware-driven studio setup. From abstract TB-303-ish structures of Acid Rain, through the building peaks of Analogue Swamp, a perfect example of stripping functional techno, to Come Closer's uplifting trance-y melodies and the closing sequence of Strobe 1, this record is shaping up to be Woo York's strongest release to date.

An intriguing project by singer, composer and multi-instrumentalist G.T. Moore, he of G.T Moore and the Reggae Guitars (first album 1974) fame, he of the folk group Heron who recorded their first album in a field by the Thames in 1970, he who recorded on Lee Perry's final album at the Black Ark studio 1980, also was a part time member of Radical Dance Faction and who's done session work with the likes of Johnny Nash, Joan Baez, Poly Styrene and more.
*Fast forward to now: G.T. collaborates with the Lost Ark Band creating some beautiful shimmering, dreamy, deep phaser-laden sounds giving more than a nod the aforementioned Perry's studio from way back then.
*Features two compositions - `Be True' and `One Two Three' - the latter originally recorded with Heron - with respective dub versions playing at 33 and weighing in at 25 minutes.

Hot Casa Records reissues Disco Hi-Life, a real treasure album composed and interpreted by Afro-Soul maestro, Orlando Julius. Comes as delux 180 gramms vinyl with tip on jacket & inserts with interviews & photos. Check!
Following up to the 12inch release (HC07 / 2009), here comes the remastered version of a real mindblower piece from 1976 including four unreleased tracks, all recorded with the best Nigerian musicians, between Ginger Baker' Studio in Lagos and the American Star Studio in West Virginia, USA.
Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, Nigeria and can be considered as a main figure of the Afro-Soul music history. One of the first African musician to get signed on a 'Major' label (Polydor), he delivered many hit single as a composer and effortlessly performed live as a tenor sax and singer. He worked and met with some of the 'greatest', such as Louis Armstrong, James Brown (for his Nigerian tour with Bootsy Collins), The Crusaders, Gil Scott Heron, or Hugh Masekela.
In the middle of 1975, just after they finished the recording of The Boys Doing It' album with Hugh Masekela, they all flew to Ghana and Lagos. It was holyday and Orlando had also plenty of time to focus on his own songs. He wrote 'Disco Hi-Life' in Yoruba and 'Children of the World' in English. And he immediately planned a recording session including 12 finest musicians, such as the great singer Dora Ifudu Avery, Adelaja Gboyega on keys, Kenneth Okulolo on Bass guitar, Butley Moore on drums, Fela's collaborator Tunde William on Trumpet, and also Ade, who helped sang 'Love Peace & Happiness'.
Originally released by Nigerian label Jofabro in partnership with the UNICEF association for the 'International year of the Child', it was only available in few promotional quantity... here comes the very first official reissue of this dancefloor masterpiece!

Phil Weeks teams up with Soldiers Of Twilight vocalist Ladybird on his new track Natural High, a deep and soulful house track laden with warm chords and Weeks' trademark MPC beats. Released on vinyl and digital formats through Robsoul Recordings on 14th February, the single comes with three alternate versions - the Unplugged version removes the beats and bass providing a tool on which Ladybird's vocals shine, the Baby Dub takes things into heads down territory, and the Higher Mix reintroduced the vocal.View the video of Phil Weeks and Ladybird performing Natural High in the studio:http://youtu.be/x1YulPP-EqM

Songwriter and vocalist Ladybird is best known for her work as part of Soldiers of Twilight, who released numbers records via 2020 Vision and Serial Records. Her own self-titled album can be found on Peng, while other collaborations, most notably alongside Llorca, DJ Rork and DJ Le Roi, have appeared on F Communications, Distance and Foliage.Since 2000 Phil Weeks has released his unique brand of house music on some of the world's leading underground labels including 2020 Vision, Music For Freaks, Brique Rouge, Magnetic, Detour, Adult Only and his own Robsoul, which is responsible for the majority of his original output. Robsoul has released his three critically acclaimed albums - Love Affair, Raw Instrumental and Yeah, I Like That. 2013 has been one of Phil's busiest years so far, with the release of the three-volumed Crate Diggin compilation, original music for Supplement Facts and Robsoul, and remixes for Saved, Cajual, Snatch!, Homecoming and Bass Culture. 2014 looks set to be even bigger!

6th Borough Project are all set to release the follow up to their 2011 debut LP One Night In The Borough at the start of March. A hectic couple of years have been lived out by Graeme Clark and Craig Smith during the making of their Borough 2 Borough LP with Graeme continuing to play week in and week out as Revenge and setting up his new imprint Roar Groove whilst Craig has established the brilliant Fifty Fathoms Deep label. Studio time has been tight to say the least but that hasn't stopped the duo from pulling out all the stops and ensuring that this LP surpasses the already sky-high benchmark set by it's predecessor.

As a taster for the LP we present you with this sampler single containing three gems that'll whet your appetite and leave you gagging for more! Kicking off we have In Your Arms which sees the duo deliver some classic 6BP business with a party-starting house track laced with Philly strings and a heavy dose of soul. Next up things take a slightly darker direction on U Know U with this heads-down track incorporating a crisp, stripped-back beat joined by filtering pads and a distant vocal for company. Flip over for Read My Mind which brings some deep and brooding warehouse vibes to the table. This is the sound of 6th Borough Project doing techno with just a hint of 909 ride adding to the layers of bouncing stabs and off-kilter vocals.

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

With their debut album on Hamburg's taste making hafendisko, Deo & Z-Man proceed their research in contemporary electronic music beyond stylistic boundaries and present a wide-ranging lucky bag of songs. The Italo-rooted brothers melt influences from modern House music, HipHop, Electronica and even jazzy elements into a fresh and life-affirming total work of art. And here it is in all its glory - 'No Bullshit' . With a healthy dose of tongue-in-cheek humour and a seemingly endless supply of fresh ideas, Deo & Z-Man might have pulled one of the most creative albums of the year. Effortlessly gliding between wigged out house for the dancefloor, synthy space weirdness, hip-hop infused beats and twisted, smoked-out electro pop - 'No Bull-shit' is a rare thing, a collection of esoteric and eclectic influences that hang together perfectly as a proper album. The boys have long since created their own special vibe through their well received singles, live performances and DJ sets - mixing musical knowledge, party rocking skills and a sense of fun that is all too often lacking these days. Even more rare is to capture that magic in the studio over the course of an album. Yet 'No Bullshit', as the name cheekily suggests, nails it. Listening to the album it's easy to see how Deo & Z-Man cut their teeth with HipHop - tracks like 'Tamastar Santini' (feat Janos), 'Two Blue Bros' and 'YRUAG' reveal a background of beats and rhymes that infuses the whole vibe of the album. Equally at home in the club, recent single 'XTC', 'Chopped Memories' and 'Tales of Love' are lessons in leftfield club dynamics - deep, musical grooves that hint at the brothers' leg

William Kouam Djoko returns to Voyage Direct with Deflourished. After a year with a lot of high highs and some deep lows, William found himself on the dance floor listening to a set by Chicago Footwork specialists DJ Rashaad & DJ Spinn.
William experienced what religious people might call a divine moment. All the experiences, emotions and soul searching from the previous year came together in one emotional, energetic moment. William tried to recapture all of this in his studio the next day and within hours Deflourished was created. A pure form of energy shared by William for everyone to enjoy, hopefully as much as he enjoyed creating it.

B-side Behind Closed Doors completes the package; a lot more subtle and refined than it's A-side brother. A synth-heavy, down-pitched and outstretched song that builds heavily on space, both physical and mentally. On his Sophomore Voyage Direct release William Kouam Djoko truly sets out on a voyage to discover his inner-self. The result, whether it's the expressive energy of Deflourished, or the more mesmerising gloominess of Behind Closed Doors, is beautiful to say the least.

The package is completed by a stunning video of Deflourished made by graphic designer Saša Ostaja and animator Niko Lanzuisi. The video will be launched at a special party

There are many ways to move forward as an artist. You can reinvent yourself, keep track of fashions, or try bold new things. Tom Trago has spent the best part of 10 years pushing his sound in impressive new directions. Yet on his new album, the well-regarded Amsterdam-based producer has done things slightly differently. This time round, his influences come from much closer to home, and he has admitted to being inspired by the dancefloor-focused style with which he made his name.

Welcome to The Light Fantastic. We're sure you'll enjoy the trip.

Trago is an old hand at this kind of thing. Back in 2009, his debut album, Voyage Direct, impressed with its warm, disco-centric blends of full-throttle deep house and boogie-influenced synthesizer funk. He cast his net wider on 2011's Iris, choosing to work with a wide variety of international collaborators on an album that laid bare his myriad of musical influences.

On the Light Fantastic, he's decided to 'step back to move forwards' with a warm, involving set that puts the simple pleasures of the best dancefloor moments at its heart.

'I tried to go a bit back towards the style I was doing on Voyage Direct, so dancefloor beats with deeper impact,' Trago admits. 'I was trying to male tracks that work on the dancefloor, but also move your heart.'

In some ways, The Light Fantastic is Trago in 'back to basics' mode. Partly inspired by his ever-increasing travels around the world to DJ, it melds together a range of influences - deep house, vintage synthesizers, classic boogie, disco, Chicago jack, acid house, and even a dash of full-throttle rave revivalism on the raw funk of 'The Elite' - on a set that sounds like it was painted in vivid colours by an artist at the top of his game.

'I'm like a professor in a lab, trying to make little ideas work,' Trago enthuses, warming to the theme. 'The tracks are all there in my head, like a puzzle, and I have to make all the pieces fit together.'

The 'back to basics' theme extended to his choice of collaborators. Whereas Iris was notable for featuring an impressive cast list of international singers, musicians and producers, The Light Fantastic is more of a homegrown affair. While plenty of people lent a hand during the recording process, they were trusted locals from the Dutch electronic music scene, rather than outsiders.

'This time, I thought 'whoever walks in the studio can get involved',' he says. 'If they walked in, they could sing, play some synths or do some mixing. A lot of people came to hang out and ended up lending a hand. It's a much more fun way of working than sending your track to somebody across the other side of the World.'

There are many collaborations on The Light Fantastic, but listen out for contributions from Steffi, Ben Westbeech, 'studio neighbour' San Proper, Makam, vocalist Holly Wood and, most surprisingly, a local club owner who just happened to swing by the studio. 'Using my friends was a big part of the process,' Trago admits. 'One of the points of the album was using people who were close to home, part of the family almost.'

It's an approach that definitely paid dividends. Certainly, this celebration of Amsterdam's blossoming electronic music scene adds a little extra frisson of excitement to The Light Fantastic's impressive vibrancy.

By the time the rush-inducing positivity of 'The Wrong Right' gives way to the mutant alien funk of album closer 'Desire', you'll be ready to listen to it all over again. That's the thing with The Light Fantastic - it's a trip you'll want to take again and again.

Long serving Cadenza recording artist, Mirko Loko, has always worn his Detroit musical influences on his sleeve, counting pioneer Carl Craig as his mentor, and having worked with the likes of Derrick May and Stacey Pullen in the studio.

And on Daybreak, Mirko fully indulges in the one genre that seems never to get tarnished, the mechanical and industrial beats working off the deep and soulful strings and melancholic pads, a true hallmark of the classic sounds of the Motor City. Originally released on Outpost Recordings, the label run by Scottish techno don, Funk D'Void, the masterful Original Mix from Takuya Yamashita gets three new versions from Mirko. Takuya, a techno artist from Kobe, Japan has already sparkled on labels like Biotech and Espai, and in his Original version we have a driving and energetic piece of classic techno. Mirko remains ever faithful to the melody and sounds of the original, providing a full beats re-rub on the 'Mn version', and an alternate 'Taiy version' that's more urgent, with its broken beat. The digital only 'Kanj no' version dispenses of a backbeat entirely, creating a remix that forever teases with it's percussive elements, building up great anticipation throughout. As Cadenza continues to celebrate its 10th year as a label, it takes delight in backing great music from its artists and associates, and this release is another curveball in the label's eclectic catalogue.

- Turn Me On' by Jay W. McGee is the third release in a series of sought after boogie, disco and modern soul re-issues on Légère Recordings. The original 12inch vinyl single appeared on the tiny Canadian Indie label Love Productions in 1980 and is immensely hard to find these days.

- Turn Me On' is an unusual production for its time, grooving along unbelievably deep in a spartanic arrangement, and fuelled by vocals which are not too far away from Sylvester's iconic style of mixing soul, disco, funk and jazz.


Jay W. McGee has a strong opinion about disco music: - When disco came out, it had its own way of reaching people's hearts too. Being in a club, you know, it's escapism, like with soul music. Soul is addressing everyday life problems, disco is about how to forget and enjoy yourself. They each have their own unique place. I saw people railing on doing disco because they didn't understand the seriousness of it,' Jay W. McGee explains about - Turn Me On' when he officially commissioned this re-release: - The discrimination of disco was in reality a discrimination against black music.'

- Your Love', the flipside of this 12inch single, is an exciting ballad on the B-side and a surprise in itself. Both tracks feature a great combination of talents. Wayne Jackson, the trumpet player on - Turn Me On', played on Rick James' album 'Bustin' Out On L Seven', in the late Seventies. Glenn Johanson was the engineer on - Your Love'. He became Eddy Grant's house engineer at his studio in Barbados right after he mixed this tune. But there is also a little drama in the story. When Jay W. McGee returned to the studio where he recorded, "Turn Me On" he found out that the original version of - Turn Me On' was erased by another technician: - Everybody said it could have been a hit, and maybe the guy did it on purpose.' Nevertheless he recorded the song again with a now different arrangement and instrumentation. Maybe that is the reason why the production is so unique and also so different to - Your Love'.

Jay W. McGee could have been a solo artist on Philadelphia International Records, back in 1969, when he met Leon Huff of Gamble & Huff, in Philly for an audition, just before they recorded - Me And Mrs. Jones', - Bad Luck' and - Backstabbers' with Billy Paul, Harold Melvin and The O'Jays. They offered him a contract, but he refused, because he came with his whole group from Flint, Michigan and they wanted to be signed collectively.

Jay W. McGee kept just one of the original 12inches in his home: - Both songs were a profession of love to my wife. We are now married for 34 years.' Now if this ain't love, we don't know....'

Reggae Classic! - Original album from 1981, recorded at Channel One with the Roots Radics as backing band plus full horn section! - Produced by Henry 'Junjo' Lawes, mixed by Scientist at King Tubbys studio. A must for every serious Reggae collection!

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

'Believe" delivers a consummate body of work with which Nicole's considerable abilities in the studio are clear for all to hear. A wide-range of sounds that is sure to appeal to the idiosyncratic tastes of the various sub-sections of electronic music community. Furthermore, it lives up to the high-standards of previous Drumcode long-players and is an engrossing and impressive debut; and one that offers a smooth segue into the next chapter of an already exciting career.

Kicking off with the industrial techno grooves of 'Come And Lay' with the bass-heavy 'Do Your Thing' on the flipside.

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."

*Winston Wright is another unsung hero from the Jamaican musical
cannon. Although many might not know his name, you will have
heard him on many records in your collections. When we say that
it was he who played that classic Hammond organ riff on the
1969 'Liquidator' classic, as part of the Harry J Allstars, we might
begin to appreciate his talents that bit more. But not only this, many
1970's classics carry his organ, piano and arranging skills and
even before that time, many tunes cut in the 1960's,as part of Duke
Reid's house band Tommy McCook's Supersonics, carried the

Winston Wright signature sound.

Winston Wright (b 1944 , Jamaica) began his musical career in
the 1960's as a session player and soon became an integral part
of the Treasure Isle Studio house band, that became known as
Tommy McCook's Supersonics . He played on many of the
Rocksteady era hits that Duke Reid ruled the island with between
1966-1968.His mastery of the Hammond organ made him an in
demand session player. One such was Harry J studio's that had a
massive hit in the UK in 1969 with 'Liquidator' as the Harry J
Allstars of which Winston was a member. The same year saw him
cut some great tunes as part of Clancy Eccles' Dynamites.
The 1970's saw Winston Wright working closely with Dynamic
Sounds Studios' nucleus of musicians Cutting material for all the top
producers of the time including numerous sides for Bunny 'Striker'
Lee, which we have focused on for this set of tunes. From 1975
onwards Winston Wright was a member of Toots and the Maytals'
touring band, but we celebrate here his mighty fine studio work.
Adding his touches to many a fine rhythm as only Winston could
we hope you enjoy the set.

New Leng signing Auf Togo are the combination of Clement Cachot-Coulom from the Fabulous Penetrators and Sasa Crnobrnja, one half of In Flagranti.
Their combined sound is one of vintage recording equipment and instruments coupled with tweaks and blends from the modern studio. This new 12 for Leng draws on all their knowledge of the past and of the current club scene, effortlessly gliding through deep, warm analogue sounds and tougher studio techniques. Both tracks have guitar work that reminisces of a late 60's West Coast scene laid over strong bass lines and beats giving the perfect mix of home listening fuzz and a late night dance floor.

With the homespun warmth of his album still keeping us toasty as the temperature drops in the Northern hemisphere, Dave Aju offers up two choice cuts from Heirlooms to receive surgical treatment at the hands of dear friends and respected practitioners in our beloved corner of electronic music. The divine boogie-fuelled electro pop of 'Caller#7' stood out as one of the most flamboyant and earsnagging tracks on the album, so who better to entrust the remix to than Seth Troxler and Subb-an Seth of course is a long-time partner of Circus Company, stretching back to 2008 when he first recorded an EP for us with Patrick Russell. Subb-an may be a new cat to us, but there's no denying the impact he has made with his releases for some of the strongest tech house labels around. In the hands of this formidable duo, 'Caller#7' gets sharpened and honed into a peak-time floor-filler. The vocals from Dave and dOP's Jaw and that inimitable bassline remain intact, with the focus switched to boosting the rhythms that propel this party-starter while a disgruntled caller drops in on Radio KAJU to speak her mind like a true soul sister should. On the flipside, we take great pleasure in inviting the maverick Swede Axel Boman to work his magic on 'Away Away'. After exploding onto the scene in a flurry of hedonistic imagination and cheeky originality, Axel has charmed all that come before him with his releases and his Studio Barnhus label. He treats us to a glorious, soaring version of Dave's track that shuns shortening days and worsening weather, and instead places you at the top of a mountain as the sun rises in a cloudless sky, gently building but never peaking in a truly life-affirming concoction of house music for the heart.

Niney the Observer is well known for his great productions,collaborations,with the likes of Dennis Brown and for some of the best rhythms to come out of Jamaica.Maybe less known is that he began in the music business as a singer.Here for the first time is a collection of songs culled from his career that feature the outstanding voice of the Observer himself.
*Niney the Observer (b.Winston Holness,1951,Montego Bay,Jamaica) grew up in Montego Bay, Jamaica and began singing in school bands in and around the area and the nearby town of Lucea,where one of the bands he sang with,featured future Studio One guitarist Eric Frater.Two other singers that Niney grew up with were Derrick Morgan and Eric 'Monty' Morris. The Derrick Morgan connection brought Niney to the attention of Beverly's Records to whom he sold some of his songs.Producer Coxonne Dodd of Studio One began noticing Niney's talents and offered him some studio time and a base to work out of on Charles Street in Kingston Town. The year was 1957 and Coxonne Dodd released some of these early recordings featuring the vocal talents of Niney on his Studio One label .If Niney The Observers work as a singer was ever in doubt or overshadowed by his many other talents,then we hope that this album will put that to rest.Niney behind the microphone as compared to a mixing desk is a great,great,thing.....
Hope you enjoy the set...

01. BLOOD AND FIRE
02. MESSAGE TO THE UNGODLY
03. BRING THE COUCHIE COME
04. KEEP ON PUSHING
05. MIX UP
06. JAH FIRE
07. ITAL CORRECTION
08. RASTA NO PICK POCKET
09. AILY AND AILALOO
10. HAIL I
11. EVERYONE IS A RASTA
12. BEG IN THE GUTTER
13. OBSERVING THE OBSERVER
14. HIDING BY THE RIVERSIDE

"Destroy The Invaders" gilt als das beste Dubalbum der frühen 80er von Lloyd James aka Prince Jammy, dem späterem King Jammy ! - Aufgenommen im Channel One Studio mit der Roots Radics Band und im King Tubby's Studio abgemischt, u.a. basierend auf Originalversionen von Junior Reid, Hugh Mundell und Wayne Smith, wurde die LP, auch inspiriert durch den anhaltenden Erfolg von Computerspielen wie 'Space Invaders', in einem ikonographischen Artwork von Tony McDermott erstmalig 1982 veröffentlicht. Ein Longplayer der in jede gepflegte Sammlung des Dub Reggae gehört!

* 180 gram audiophile vinyl
* Gatefold sleeve

One of the most eagerly anticipated albums of 1968 by press and public, Cheap Thrills met every expectation and then some.

With the heartrending version of "Piece Of My Heart" and a definitive cover of Gershwin's "Summertime", the album (which consists of studio and live material) shot to the top of the charts and stayed there. The audio has been sourced from the original masters, and Robert Crumb's artwork (also known for creating Fritz the Cat and the iconic Keep On Truckin' comics) is meticulously recreated on this Music On Vinyl issue.

A truly classic album and an important part of Rock history, this album is 'a time capsule for one of rock's most distinguished singers.'