Buscar:t groove

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

This is the third album by Sound Limited, also known as "Hidden Treasure". This gloss. This depth. Takeshi Inomata's jazz rock has entered a new dimension.

Sound Limited, which was formed at the end of 1969, recorded three albums in quick succession in 1970, as if to reflect Takeshi Inomata's enthusiasm. The third of these albums is New Rock In Europe. This album is composed mainly of songs by European musicians such as The Beatles, Donovan, and Nino Rota. There are many highlights to listen to, such as "Something," which fascinates with Kimio Mizutani's shimmering guitar, and "Barabajagal," which has an exciting tight groove, but I am happy to see a revival of Inomata's original "Mustache," which is part of the group's repertoire. ?Sounds Of Sound L.T.D.? This is the third recording after "Sensational Jazz Vol. 1/2", and this version is glossy and psychedelic as if it concentrates the atmosphere of the entire album. It is a monumental work that makes it known that Jazz Rock by Inomata has entered a new dimension.

text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

This one’s for the steppers!

Gene Harris, the American jazz pianist, appearing on over 50 albums in his career, including on labels Blue Note & Concord Jazz, known for his warm sound and known for his warm sound and blues and gospel infused style that is known as soul jazz.

Originally released in 1974 on the classic soul jazz album Astral Signal, Losalamitoslatinfunklovesong gained a second wave of popularity when it was played as part of the London centric, Rare Groove scene in the late 80’s.

Remastered and lovingly reissued on the increasingly ‘buy or cry’ Selector Series label, this seminal laid back stepper is available for the first time In over 45 years!

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

This is the second package of remixes for the hypnotic folk music of the Ainu a cappella group Marewrew. 
Ukouk Remixes Pt. 02 is dedicated to dub-infused remixes, featuring Elijah Minnelli and Peter Presto on a 7" single.
Elijah Minnelli is a producer of dub music. The London-based artist specialises in a fusion of folklore and dub, which he masterfully demonstrates on his latest release Perpetual Musket on the FatCat label. His remix of Marewrew's Uekap is a deep and breathing take on the mesmerising round singing vocals, dubbed in a live take through his mixing desk. The chopped vocals are used like percussion instruments. Elijah Minnelli has also contributed a moody DJ mix to the Pingipung podcast series, sharing some of his knowledge of pre-reggae roots music from the Caribbean and South America.
Pingipung founder Peter Presto remixes the same track, Uekap, with his unmistakable dubby playfulness. The vocals are merry, the groove stumbling and slow. The flute melody qualifies as a perfect stress antidote.
The electronic dub trio Cloud Management added their version of Honkaya to the digital package. There is an Andi Otto remix in the bundle, Hunpe Yan Na. The song is about a whale that has stranded ashore; Otto dubs the song with Heiko Gogolin’s bass clarinet, blown organ pipes and his cello. Finally, Californian folk wizard Contact Field Orchestra adds his atmospheric, haunted version of Etukuma Kara.

Coming out on September 6th on Sharptone Records, Sundiver is Boston Manor’s fifth album and one that represents a glimmering dawn for the Blackpool five-piece. Grown from a seedbed of optimism and sobriety, the LP celebrates new beginnings, second chances and rebirth. With two members recently stepping into fatherhood, hope is baked into every note. “Datura came out of these really dark few years over the hangover of the pandemic,” Henry reflects. “I'd been struggling a lot with drinking and not taking care of myself and bad mental health and stuff. We wanted Sundiver to be the next morning of the following day.” He explains that it feels good this time round to write through the lens of positivity. “The themes began to emerge, of rebirth, spring, dawn, sunshine and then other elements just started to fit into that.” It was during the making of Sundiver that Henry found out he was going to be a dad. This album is a significant one for the band. Originally coming out of the emo and pop punk scene, they’ve explored sonics and genres throughout their career, taken risks and achieved more than they could ever had dreamed of. They’ve grown up as Boston Manor – their lives and the world changing around them. They’re now taking stock, at a crossroads of the band they were and the band they could be.
While writing the album, they revisited the bands that shaped them in the late 90s and early 00s. “I was listening to the music I loved when I was a teenager and I just thought, why don't we make music like our favourite bands?”, guitarist Mike Cuniff remembers with a smile. “So we brought our interests to the table that way. Y2K kind of vibe. There are elements of Deftones, there are elements of Portishead in there, some Garbage, The Cardigans.” He laughs and adds NSYNC to the list of inspirations. From this cocktail of classics comes a dynamic and ambitious record, rich with depth, groove and more hooks than Peter Pan’s nightmares. Lyrics that foxtrot from parallel universes to personal growth, vivid dreamscapes to raw grief. Individually they’re single strokes full of meaning and magic. Together they’re a landscape.
Container (out Feb 15th) is the first single and it’s them at their best – impassioned and infectious. “This song is about the stagnancy of life creeping up on you & how that can bring about change.,” Henry explains, citing Ocean Song by US band Daughters as an inspiration.

The concept of the butterfly effect is present on Sundiver – how small actions can lead to big changes. This is no clearer than on their second single, Sliding Doors (out April 5th). It has the golden sound of late 90s Lollapalooza rock – think Smashing Pumpkins - rebooted with crisp 2024 production and a potent heaviness. In the lyrics Henry wonders, what if?, pondering on what could be. The idea that there are infinite versions of you whose lives splinter off in different directions at every decision you make. That there’s another you out there somewhere right now reading this sentence, and another me writing it. “So much is down to chance and circumstance,” Henry says. “You might catch that train and your life totally changes. Or you might miss it and things stay the way they are.”
Heat Me Up (out May 30th) is defiant and victorious, the audio equivalent of quitting your shit job and driving into the hot summer sun with a head full of dreams. “The lyrics are about love and gratitude,” Henry shares. “Another theme on the record is just appreciating what you have. It’s about not taking for granted the things that you've been afforded.”
There was some natural magic in the creation of Sundiver. They worked with their usual producer, Larry Hibbitt, and engineer, Alex O’Donovan, but instead of recording in London again they ended up in the green pastures of Welwyn Garden City. “Because Larry lives out in the countryside now, it was a way different environment and way different experience recording this time,” Mike remembers. “That contributed a lot to the brighter sound of the record.” The daily barbecues they had during their recording sessions imbued the process with harmony – five old friends spending quality time together and making quality music.
However, the album is by no means one-note. Birthing this new world they’ve created wasn’t without it’s pain, and that can be heard in the heavier moments on Sundiver. What Is Taken Will Never Be Lost is the most-stripped back on the album, a slow rock number seasoned with the downtempo Portishead influence. The heartfelt lyrics are Henry’s way of processing the loss of his grandfather, who died in a hospice last year(?). “It was just fucking horrible. It was always cold when I went there and they were always trying to get rid of me. The song title, What Was Taken Can Ever Be Lost, is the idea of his memory fading at the time because of dementia.” Henry goes onto explain that shoeboxes of photographs, diaries and a legacy is what he’s left behind. “He lived a really rich life and it has really impacted me and my father. His legacy is etched into the fabric of history in a very small way.” This song continues the connection between his grandfather and the band, as his painted face is emblazoned on the cover of the very first Boston Manor EP, Driftwood. As well as emotionally heavy themes, there’s heaviness in the music of Sundiver too. The closing song, Oil In My Blood, descends into an intense shoegaze outro with Debbie Gough from Heriot screaming hellfire. It’s in moments like this that the band show us aggression and fury can be as much a part of positive change as quiet introspection. The last lyrics of the song, “It resets and starts again,” leaves us in contemplation as the final chord rings out.
Touring the US, Europe and Japan over the years makes for an impressive CV, but if you know anything about Boston Manor you’ll know that they’re all about their hometown. Their choice to work with Blackpool-based photographer Nick Barkworth is testament to that. They’ve been working with him since the pandemic. “He captures Blackpool in a light that really reflects the weirdness and quirkiness of the town,” Henry says.” He's got a really good way of presenting that.” For the Sundiver cover, Nick photographed a 30ft tall abstract glass sculpture made by the local artist John Ditchfield. A striking and bewitching monolith that’s familiar to them but unusual to most people. “It has such kind of a gravity and power to it,” Henry describes the sculpture which stands in a field just outside of the seaside town. “It reminds me of either an explosion or a star or a supernova. To me it represents new life, power and radiance.” Boston Manor have got a knack for that - connecting the otherworldly and the everyday, the stars and the streets.
They’re a band known for using their music to make bigger statements about society. This time round they’re harnessing the uplifting power of music, and the communion it creates, as an antidote to the daily doom and isolation. “It seems like absolute chaos out there at the moment,” Henry says. “You’ve got Gaza and Israel, you've got Russia, you've got the fact that 40% of the world is going to have an election this year and increasingly most governments are leaning very far to the Right. The internet is dividing everybody, people are getting poorer and more desperate. It's really, really scary.” They considered trying to tackle the weight of it all in their music. “We could’ve written Welcome to the Neighbourhood on steroids, where it's just absolute darkness and misery”. He’s referring to their 2018 concept album that deals with class, inequality and the bleaker side of Blackpool. “But I think it's really important to write something that people can be immersed in and find some sort of solace in. Somewhere they can escape to from the modern day pressures and everything that’s going on. We’re all in this together.”

All killer, no filler type biz as Naarm hardware donny Furious Frank makes his Oyster Cult return.

Strictly dancefloor wreckers from beginning to end. Girder-strength rhythm and driving, direct torque on the menu as Frank opts in favour of club-ready ordnance. Those with a taste for the rough n’ ready have never been in safer hands.

He’s bringing the heft like it's going out of style while keeping true to sci-fi and hallucinatory tendencies. Future-proofed forays into acid and trance backed with some of the toughest breakneck groove you’re likely to hear this summer. Darting synths, flourishes of 303; all the good stuff.

Dealing damage from the controls of his drum machine, urgent basslines and lacerating percussion are primed for maximum impact. Quintessentially Furious."

FOR FANS OF... Vulfpeck, Steely Dan, Electric Light Orchestra. This album is a musical trip down memory lane. Remember when your Mom and Dad were listening and getting down to the AM Radio? This album is that vibe. These songs are stories from real people who wanted songs about their lives written by Matt Duncan during the pandemic. Matt Duncan's incredible ability to arrange is on full display as the different stories lend themselves to different sounds. Retro and authentic music fills the grooves to the brim on this LP. Piano riffs, swelling horn arrangements, and funky bass lines are ahead on this LP from Indie Music’s best kept secret. We can’t wait for you to spin this LP, and maybe you'll get Matt Duncan to write your song next.

Mit dem neuen Album The Crux präsentieren sich KILLED BY 9V BATTERIES facettenreich wie nie zuvor. Sie überraschen mit einer Vielzahl an Ideen und bewahren sich trotzdem ihre Bissigkeit; breitangelegte Klangwände erheben sich und umgarnen die feinsinnigen Melodien, Krach und Pop reichen einander die Hand. Das Sound-Universum ihres bisherigen Oeuvres war geprägt von unorthodoxen Klängen aus dem Verzerrer, von harschen Noise-Skizzen und wütenden Ausbrüchen. Auf The Crux findet sich all das in ausgereifter Form wieder. Killed By 9V Batteries haben lange getüftelt, bis alle Details zu einer wahren Gitarrensinfonie verwoben waren. Mit dem Produzenten Patrick Pulsinger und dem Aufnahmeleiter Oliver Ollmann Brunbauer standen dabei zwei der renommiertesten Studiofüchse Wiens Pate. Das mit ihrer Hilfe entstandene Album präsentiert die Lockerheit und Verschrobenheit einer Band, deren Eigenständigkeit unbestritten bleibt: Killed By 9V Batteries demonstrieren mit The Crux ihr Gespür für raffinierte Gitarrenmusik, die aus dem Bauch, aus dem Herzen kommt.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Parisian label and collective Prima Materia is proud to present the first 12" record in its 'Half Sided Series'.
The aim here is to offer a series of vinyls in the form of split EP's, with two producers each proposing a side featuring the different styles of techno we love so much.

For this first opus, we invited Portuguese dj and producer Fresko (Hayes Collective) and our resident Louis The 4th (Tar Hallow, Planet Rhythm, Prima Materia).

Louis The 4th opens Side A with 'Structured', a devilishly effective percussive tool, followed by 'Instant Attraction' in the pure techno tradition, where a hypnotic synth follows us all the way.
Then Fresko takes over on Side B, offering a more playful and colorful side with 'Cray' and 'Audio Space 2000', two tracks where mechanical grooves are accentuated by the Portuguese artist's signature elements and fx, with a surgical level of precision.

Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.

'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.

Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.

On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.

Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals.

Remastered with refreshed artwork.

Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.

’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.

On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.

Remastered with refreshed artwork.

This summer is all about the Toxic Funk jams over at Breaknbeat Paradise Recordings and for the 15th installment of the Toxic Funk series we have welcomed back the Suckaside team to produce 2 timeless funky joints.

Suckaside aka DJ B-Side and Sucka Timmy is always on point when putting their tasty funky mashups together and this time around they're keeping it fresh with some soulful funky twists on some catchy RnB jams.

This is the second time Suckaside is dropping a toxic funk 7"inch after their highly successful Vol. 7 from 2021.

Starting things off with the catchy Sometimes Bootyful that featuring some smooth RnB vocals on a funky organ riff with a steady rocking breakbeat.

On the b-side the smoothness continues on the highly addictive Sugar Face, that's take a big slow-rockin' groove and mashes it with some catchy RnB vocals that will leave you asking for more every time it's played.

Another timeless 45 that will be going quick so get it while you can and look out for more Toxic Funk coming very soon…

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Harde Smart is back again! With the new Harde Smart 7" Sampler, you get a taste of the upcoming Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's, the successor to the acclaimed original Harde Smart compilation that showcased the best of the Dutch-linguistic territory back in the '70s. Even in the decade that followed, a whole host of gems were made that were remarkably danceable, catchy and playful, as proven by the two tracks on this sampler. Joost Belinfante puts it nicely on the B-side: 'nothing to prove, nothing to claim, it is as it is.' Harde Smart never disappoints.

Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's

Harde Smart is on it with the sophomore compilation effort Flemish & Dutch grooves from the 1980's. Vinyl aficionado's No Sleep Richy and Micha Marva teamed up with Sjefke De Kok (one of Holland's illest to rack those crates!) to continue their journey. While raking deep in the dusty bins with Dutch and Flemish records, they once again discovered an exquisite selection of tracks. Too weird to play, too rare to throw away. From butt-shaking boogie to weird disco adventures on wax, this album is sounding like all the good stuff the eighties had to offer: both smooth and sexy as well as dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

The Harde Smart 7" Sampler will be released on Friday 15 March 2024 via Sdban. Harde Smart volume 2: Flemish & Dutch Grooves From the 80's will be released soon via Sdban

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

Erste Vinyl-Neuauflage dieses fantastischen Albums von 1981 von Marcos Valle, eines der bedeutensten Künstler der brasilianischen Musik. In Brasilien aufgenommen, nachdem er Ende der 70er Jahre in den USA gelebt hat, brachte Valle sein angeborenes Talent für Arrangements und seine vielfältigen Einflüsse auf diesem unwiderstehlichen Album zusammen. Gäste sind u.a. Sivuca, Chicago's Peter Cetera, Robson Jorge und Joses Azymuth Roberto Bertrami. Valle ist einer der wenigen Künstler, die man sich nicht entgehen lassen sollte, wenn man auch nur das geringste Interesse an brasilianischer Musik hat. Ob Sie nun Bossa Jazz, Samba, Psych Folk oder Soul mögen, Valle hat mit Sicherheit ein großartiges Album für Sie aufgenommen. Ende der 60er Jahre hatte er bereits genug qualitativ hochwertige Platten veröffentlicht, um sich einen Platz unter den besten brasilianischen Songwritern aller Zeiten zu sichern, aber seine Karriere war glücklicherweise noch nicht zu Ende, und er veröffentlichte in den folgenden Jahrzehnten weiterhin erstaunliche Musik. Mitte der 70er Jahre ließ er sich in Los Angeles nieder, weil er es leid war, unter der brasilianischen Militärdiktatur zu leben, und begann, mit so talentierten Künstlern wie Leon Ware oder Chicago zusammenzuarbeiten. ,Vontade de rever você" (1981) ist sein erstes Album nach der Rückkehr nach Brasilien und zeigt all die musikalischen Einflüsse, die er während seiner Zeit in den USA erhalten hat, insbesondere Boogie, Soul und Funk, mit hervorragenden Mitwirkenden: Sivuca, Peter Cetera aus Chicago, Robson Jorge und sogar José Roberto Bertrami von Azymuth am Rhodes. Das Eröffnungsstück ,A Paraíba nao é Chicago" ist Marcos Valles eigene Interpretation von Leon Ware's ,Baby Don't Stop Me" und macht deutlich, dass das, was er in LA erreicht hat, nun auch in Brasilien ankommt. Dies ist ein unverzichtbares Album für Boogie-Liebhaber. Hören Sie sich den unwiderstehlichen Groove von ecados de amor, (Valles eigene Komposition, die allerdings zuvor von Cristina Camargo aufgenommen wurde) oder elhos surfistas querendo voar" an, und Sie werden schnell feststellen, dass dieses Album zu den solidesten Leistungen in seiner gesamten Diskografie gehört. Selbst wenn das Tempo im Midtempo gehalten wird, wie beim abschließenden Stück ao pode ser qualquer mulher", schaffen es Valles Songs, die Tanzfläche mit seiner sehr gut gelungenen Mischung aus brasilianischen Klängen und funkigen Rhythmen zu erschüttern.

Mindgames' commitment to capturing the essence of golden era Jungle while infusing it with updated production techniques perfectly complements ASC's approach. On these two EP’s, ASC bridges the expansive soundscapes of his Spatial releases and the raw dynamism of his 2020 jungle trilogy for Samurai Music.

From the heads down launchpad of Shadow Of The Beast, to the deep stepping glide of Phaaze, and onto the epic scapes of Cells Interlinked, ASC writes a sonic manifesto of his mastery of deep jungle. Snowblind is a reverent nod to Photek’s fascination with space jazz, while Flux is a floating groove that snakes itself around one of the most infectious b lines you will hear anywhere.

Seven timeless entries in the Jungle story book that embody the spirit of the 90s while reshaping it’s framework into entrancing new forms.