Suche:su combo

For the fourth release Shaw Cuts lines up five shaolin commanders who created their own interpretations of Farron's Death Duel EP: Marco Zenker, Russian duo Poima, Roger 23 and Simo Cell. These heavies form the Shelter Clan whose mission is to cover Ah Chi's back wherever he goes.
Marco Zenker gives 'We Don't Make No Sense' his signature machine funk that decimates challengers in one swing. Ah Chi can always count on Marco's sword.
Poima from Moscow rival with sabers, severing those who dare to cross their path. Their version of 'Tangency' is lead by a dirty break-beat drum combo blazoned by cosmic synth melodies and warm machine derangement.
'Centro' on the B-Side gets heavily grimed by veteran Roger 23 whose axe is as heavy as his remix style in general. Beware of Roger!
Armed with tonfas, Simo Cell layers 'Par 2' with a complex and fresh-sounding groove, causing lethal devastation to enemy combatants.
Ah Chi is well-shielded by his companions and still unbeaten to this day. Trust in the Shelter Clan!

Muyei Power or Orchestre Muyei (muyei means 'our country') was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country ('Muyei Power: Sierra Leone in 1970s USA') is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.

Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.



For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d'Ivoire before making a handful of 45s in local TV and radio studios. The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12's that sounded far superior than the records that had been released a few years earlier.


Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.

Yet again, LabelOwner Gaze ill joins forces with the Danish Dubstep ambassador RDG, this time for a 4 track collaborative EP. On the Aside the artists' minds melt together in two pieces of Dubstepscience. As the title suggests, RDG and Gaze ill show what Dubstep is made of with 'Keepin' It Real' that's characterized by a pressuring hardness, and uplifting energy. 'The Zone' follows with its progressive universe that evolves in just the right way with perfect timing. The Bside shows off the two artists' individual skills with immense, paranoid vibrations on RDG's 'Shapeshift', and thrillingly deep basslines on Gaze ill's 'Combo'. The EP is a refreshing showcase of the genre's finest offerings original sound with a wellbalanced diversity. RDG and Gaze ill keep it real for this first vinyl release on Cue Line Records.

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

For their latest slice of saucer-eyed Balearic perfection, Leng Records has looked to the North East of England for inspiration.
Lizards is a freshly minted project from Newcastle-based twosome Lee Forster - better known as one third of Balearic house combo Last Waltz, whose impressive releases have appeared on World Unknown, Futureboogie, Endless Flight and Is It Balearic - and long-time friend James Hadfeld of Nein Records' Elizabeth Collective. Despite writing music together on and off for the last 15 years, the duo only made their debut this month. As frst 12' singles go, their Tanni EP on Not An Animal was something of a gem, and featured two winding, ear-pleasing chunks of dreamy, sun-kissed Balearic disco loveliness. Their Leng debut is just as strong. A-side 'Frontier' sets the tone, layering bubbly, psychedelic electronics, vintage synthesizer arpeggio lines
and strummed acoustic guitar riffs over a head nodding, 102 BPM drum machine groove. By the time the jammed-out, eyes-closed electric guitars and jaunty synthesizer melodies come in, you'll be lost in the music. Flipside 'Coming In' stares at the sunset wistfully, effortlessly capturing the twilight humidity associated with lazy Croatian festivals and beautiful Bali beaches. Analogue synth lines futter in the breeze, whilst picked guitar lines,
spinetingling chords and a druggy bassline move the action forwards at a pleasingly loose and groovy pace. Go on, hug a stranger; after all, we're all friends in Lizards' baggy, melody-rich world.

Killer LP that mixes elements of zouk and tropical influences from the French West-Indies, with heavy disco and funk flavors. Tip!
Crystal was an 8 piece combo from the French West-Indies islands led by Franck Donatien. Gifted guitarist and composer, Franck Donatien had a few experience leading band projects such as Crystal, Lazer or Taxi Créole, and is mostly known and respected for his long and prolific career as a musicians for many artists from the local zouk music scene.

With Crystal, he released 2 albums between 1984 and 1985, both today very hard to find and famous for including some amazing tracks. If Funky Biguine, Crystal's second album, is mostly a 1 track LP with few other moments, Music Life is truly a brilliant album from first note to the last, including climax titles such as Music Life', or Santo Domingo'.

Favorite Recordings makes this forgotten treasure available again for all. Fully restored and remastered with great attention to sound quality, Music Life by Crystal is presented in a deluxe vinyl replica, and digital versions.

Following two EP releases on Delusions Of Grandeur the time felt right for thatmanmonkz to get working on his debut LP. The Sheffield b-boy is no newcomer to production having been releasing music since the mid-noughties but has seen a definite rise in interest the last few years following essential releases on his own Shadeleaf label as well as remixes and productions for the likes of Classic, Kolour LTD and Kon's StarTime.
With his first musical love being Hip Hop it's easy to understand how his approach to house turns out so refreshing. Inevitably MPC's, big, bold samples, Jay Dee inspired grooves and a raw, underproduced sound all play a big part and never one to shy away from an interesting collaboration he has enlisted the skills of several vocalists including Detroit MC Ta'raach (whose credits include Slum Village and Jill Scott), Erik Rico (collabs include Ron Trent and DJ Spinna), Khalil, Dave Aju, Pete Simpson (as A Brother Is...) and Malik Ameer.
Things kick off with a low-slung soul jam entitled Air featuring Kahil Anthony complete with sparkling Rhodes arps and a dub-wise bassline underpinning a beautifully lazy groove. Jus Anutha Wunna Deez follows with a rough and ready house jam that clearly doffs its cap to those old Sound Signature and Mahogoni Music releases we know and love so much. Next up we have Boogie Down with Erik Rico rocking some Parliament inspired vocal business bringing the feelgood vibes to this rolling P-Funker. Some Ol' Nex' Ish goes for a jazz samba meets house fusion whilst A Fly New Tune goes strictly old school with a classic combo of dusty break, filtered fusion rhodes n bass sample, movie dialogue snippets and a masterful flow delivered by Ta'raach. Dave Aju steps up next on Turn It Out laying down a unison vocal refrain to compliment the bumping disco groove complete with a call and response section for some singalong party participation!
As we continue, Another Night Under The Glitterball sees thatmanmonkz back in familiar territory with a rock solid, deep jazz-house jam. On I Can Hardly Breathe we're treated to a downtempo gospel-infused affair which leads us perfectly into the most bumpy club- friendly track of the LP For Bae. Moon On The Hill is a collaboration with Italian DJ Kali and his Raw Standard crew and treats us to some distinctly mid 90's Kruder and Dorfmeister vibes to zone out to before heading off in an altogether more bonkers, psychedelic dancehall direction on Vampires. Baked is another classy thatmanmonkz take on Hip Hop featuring Malik Ameer on the mic. Take U 2 My House sounds like something Prince might have made in the mid-80's if he'd just come off a 3 day bender at Panorama Bar. And closing the show in perfect style and fashion we have For Those I've Lost Along The Way which is a blunted yet beautifully optimistic number that has echoes of Lonnie Liston Smith and a brilliant spiritual vocal sample which provides the perfect closer to an amazing debut LP.

For the second release, the artist Kaelan joins the ranks of the squad of Shaw Cuts with the EP 'The Silent Swordsman'. Equipped by his sharp stabbing weapon and a mysterious fighting technique taught by the head chief of the Sun Moon Sect Master Wu himself, Kaelan strikes out to hunt. Not hectic but silent, so watch your back!
The chase starts off with 'Latch', a straight techno banger with swirling chords and thrusting percussions that can easily slice the villain's face into pieces. Bloodbath.
'Claw' already gives hint to another weapon of Kaelan just by the track's name. Filled with filtered moving chords and vigorous and intense drums, this tune would be the perfect soundtrack for the final fight between two kung-fu masters, surrounded by befogged dead bodies lying on some mossy floor.
On the B-Side, Farron bolsters up the silent swordsman with a more break-beat orientated version of 'Claw', filled with energetic clap combos, subtle pads and big bass drum hits.
The whole EP is topped off with the track 'Hasen', a beautiful journey into ambient music with a touching atmosphere.
Mission completed. The carnage continues

"Between Stars" is the debut album from Barcelona based Venezuelan producer and DJ Maurice Aymard. More than two years in the making, 'Between Stars' has been a labour of love for Aymard as he travelled the globe to collaborate with musicians and singers in Barcelona, Berlin, London and Venezuela who could help to bring his vision to life. Released on Aymard's own Galaktika Records (Garnica, James Teej & more), 'Between Stars' was recorded entirely live and features contributions from the likes of Brazilian star Gui Boratto, Columbian singers Andrea and Paulo Olarte, Argentian guitarist Mariano Godoy and many more, the resulting album takes the house music template and expands it to a grandiose level. In an age when anything that isn't packed full of buzzsaw bass and 'sick' drops gets labelled as Deep House, "Between Stars" is the real deal, and from the first bars of the albums opening (and title) track, 'Between Stars' quickly establishes itself as something truly special, a 'house' album that not only works as a coherent whole but sounds as good at home, by the poolside or in a club at 4am. If 'live' house albums have in the past had a tendency to verge on the polite, Aymard's skill as a producer and experience as a DJ keeps things rooted in club culture and nearly every track off 'Between Stars' deserves to find its way into DJ sets over the coming months. Rather than smooth things out the live instrumentation instead adds an energy to the tracks and the subtle touches, that the likes of guitarist David Rondon brings to 'El Final', lift the album up to another level altogether. Since moving from Venezuela to Spain and launching Galaktika Records, Aymard has become an integral part of the European house music scene. With releases on the likes of Berlin's Moodmusic, Hamburg's Einmusika and Denmark's Tic Tac Toe Records, and remix credits for artists such as Mario Basanov, Compuphonic and Combo, Aymard has built a reputation for delivering quality underground house music and with his debut album Aymard looks set to secure his position as one of the scene's most innovative artists.

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

Mario & Vidis, the top Lithuanian House duo, is back with a real treat. A solid remix package to follow up the original release of their perfect-set-closing track of summer 2012. Even though all ticking at the same tempo four different remixes and remixers on the plate represent a wide spectrum of moods and styles. From Garage and Bass infected sounds of up and coming Lithuanian producer Darius Vaikas, via Miami Bass rooted Dub version of steady groovin' American Danny Daze, to golden French Touch era reminiscent slick grooves of German combo Trickski, and summery New Disco vibes of two Lithuanian comrades from Downtown Party Network.

UK stalwarts Jamie Anderson and Owain K team up again for another sumptuous slice of contemporary house music on Steve Bug's Dessous Recordings. Jamie Anderson has been exploring and manipulating the links between house and techno for over 15 years, having released on numerous influential labels, both solo and as a collaborator with other top artists. But it's his work with Bristolborn hot-property Owain K that is currently exciting discerning dancefloors worldwide. 'Do You Know', their latest collaboration, sees Jamie and Owain drop some serious sunshine grooves - shuffling hi-hats and a classic, Chitown synth let you know that this is all about the good times. The spoken word vocal pays homage to forgotten jazz legends - the uplifting vibe sure to put a smile on the faces of dancers all summer long. Jamie and Owain switch it up on the other main track in this release. 'Keep It Pumping' drops the tempo to 118bpm and digs its toes into the sand for a balearic-tinged nu-disco stomper. Disco toms fire, the sub bass rumbles, and spacey synths and vocal samples wash over this expertly crafted sunrise/ sunset groove. A dub of 'Do You Know' rounds off the release from this hugely talented combo.