Limo Trax returns with what it does best - four big tunes from producers on the rise. Kevin Toro and Fragoso give us a sneak preview of what's to come in their forthcoming Limo EPs with two floor-filling nuggets on the A-side, and on the B-side, Limo Byte and Nug-Net alums Danny David & j.me take the next step with their Limo vinyl debuts. These are four ultra-playable cuts for serious DJs playing in any scenario.
Different Ways inaugurates the limited series with Astral Body, Italian artist which is back after 25 years of hiatus!
DIWALTD01 features two old gems, Psychasthenia and Rama city, released back in 1994 on Disturbance, one of the most influential Italians labels, run by Ivan Iusco. In addition there will be also N'ra and Otentetecot, two unreleased tracks showcasing Astral Body's sound at its best.
A perfect mix of Techno, House and Trance from the 90's, but still contemporary. You can't miss it!
Recorded in 1970 with a host of young blues and rock musicians, Blue Memphis is recognized as one of the best dates released by fellow blues artists in that era. On this album, the famous American blues pianist, singer, and composer Memphis Slim (John Peter Chatman) is backed by several British musicians, including Chris Spedding, John Paul Jones, Duster Bennett, and Peter Green.
FIRST-EVER VINYL RELEASE OF CULT 1980 CASSETTE-ONLY ALBUM BY EGYPTIAN SINGER NAGAT EL SAGHIRA, CURATED AND ANNOTATED BY DISCO ARABESQUO. INCLUDES PRODUCTION BY EGYPTIAN FUNK LEGEND HANY SHENOUDA
Following the highly-acclaimed "Sharayet El Disco" compilation, Wewantsounds is delighted to team up with Disco Arabesquo for the reissue of Nagat El Seghira's cult 1980 album "Eyoun El Alb"
Originally released only on cassette on the Egyptian label Soutelphan, the album has since become a sought-after classic on the Arabic groove scene and this is the first time it is released on vinyl. Consisting of four tracks, the album features two tracks produced by Hany Shenouda whose group Al Massrieen is a reference on the Arabic disco funk scene.
Remastered for vinyl by Colorsound Studio in Paris, the album features the original cassette artwork plus a two page colour insert featuring liner notes by Disco Arabesquo.
When it comes to Arabic Divas, Oum Kalthoum, Fairuz and Warda usually take the lead in the poll list. But in her native Egypt, singer Nagat Al Saghira comes very close to this triumvirate. Born in Cairo in 1938, Nagat began singing when she was still a child gaining her stage name "El-Saghira" ("the young one") at this occasion as she started giving concerts at the age of seven, pushed by her father, the famed calligrapher Muhamad Hosny (Nagat's half-sister is the renowned actress Soad Hosny).
Nagat quickly rose to fame in the late forties and became an essential part of classic period of Arabic music, interpreting songs by such titans as Mohamed Abdel Wahab, Baligh Hamdy and Kamal Al Taweel. She also sang the works of Syrian poet Nizar Qabbani whom she introduced to a mainstream audience. Nagat started singing shorter songs but then upgraded to longer ones, often performing/recording them live as it was the trend in the 60s and 70s.
One such song is "Eyoun El Alb" ("Eyes of the Heart") which makes up the whole of Side 1 of the original cassette. Written by Mohamed El Mougy and Abd al-Rahman al-Abdouni, Eyoun El Alb is a love song made up of several distinct sections enhancing Nagat's hypnotic singing, accompanied by a percussion-heavy, traditional Egyptian orchestra.
Side 2 is the "diggers" groovier side featuring two floaters,"Bahlam Ma'ak" ("I Dream with You") and "Ana Basha El Bahr" ("I Adore The Sea") produced by cult Egyptian musician and producer Hany Shenouda, whose albums with his group Al Massrieen are highly sought after on the Arabic funk and Disco scene. One Al Massrieen track features on the "Sharayet el Disco" set compiled by Disco Arabesquo who notes that "Hany Shenouda had made waves with his new musical style that weaved in western funk and disco sounds into Egyptian music"
Both tracks feature an infectious slow-burning groove and incorporate funk influences with fat bass and lines of synth and clavinet that adds a funky tone to Nagat's soft singing. The third track "Fakra" ("Do You Remember") brings the best of both world with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks.
Originally released in Egypt on Cassette in 1980 on the venerable Soutlephan label, the album is now making its vinyl debut on Wewantsounds annotated by Disco Arabesquo and remastered for vinyl by Colorsound Studio in Paris for the joy of Arabic funk and Global beats worldwide.
Eddie Palmieri's The Sun Of Latin Music (1974) is a landmark album that pushed the boundaries of salsa and Afro-Caribbean jazz. With this record, Palmieri won the first-ever Grammy for Best Latin Recording, cementing his reputation as a bold innovator. The album features dense polyrhythms, blazing horn arrangements, and exploratory piano work that blurs the line between traditional Latin dance music and avant-garde jazz. It’s celebratory and deeply complex—an album as much for the head as for the hips.
Anchored by tracks like “Un Día Bonito” and “Nada de Ti,” the record showcases Palmieri's willingness to experiment with song structure and harmonic language while staying grounded in the groove. His band, including the powerhouse vocals of Lalo Rodríguez (just 16 at the time), delivers performances that are fiery and technically dazzling. The Sun Of Latin Music isn’t just a classic of salsa—it’s a daring artistic statement that redefined the possibilities of the genre.
Full Dose head honcho Brollachan is back with a fresh project alongside fellow Glasgow artist, Limiting Factor. Collaboration between Brollachan and this new name on the scene results in a weighty two track, 2-stepping EP - “Garden of Gelsemine”
The pair conjure up sounds reminiscent of early 2000s UK bass music, but with a certain Full Dose flair. As with some of the best and murkiest Dubstep and dub influenced cuts from yesteryear, these tracks aim for a deeper connection. Off-kilter rhythms and a significant focus on low end mean “Garden of Gelsemine” works well both in the club environment and as an introspective headphone listen.
Welcome to the garden, where Brollachan and Limiting factor have cultivated 2 particularly wacky specimens. "
What happens when you combine SUMAC: a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother: a poet and sound artist that has deconstructed hip hop to a point where it"s less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power.
The Film is an album that takes attributes of both artists" work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film"s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: "The idea is to create a moment outside of the convention. This is a work of art.
Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won"t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process." The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother.
Organic Analogue returns with a rediscovery of Beppu's rare dubbed-out electronica and circuit-bent techno. Andrew Hargreaves is the Manchester-based producer behind this alias which was first making waves back in the late-2000s. Back then it was three limited CDr EPs in 2009, which came with just 50 copies each, that made a stir and still stand up today. As such, the sought-after recordings receive a proper vinyl pressing and have been mastered by Miles Whittaker. Two distinct remixes from Demdike Stare also add further quality and contemporary context to the origins, which blend dub techno and braindance with textured noise. IPOP continues Organic Analogue's tradition of spotlighting overlooked talent having already done so with names like DJ Guy and Jean-Louis Huhta.
DJ Feedback
dBridge:
"A moment in time."
Ben UFO:
"This is gorgeous, thank you."
Tolouse Low Trax:
"Very much my start into Electronic Music back in the days. Cool Reminder!"
Stonecirclesampler:
"All time Manchester classic from one of the best in the city, incredible project and so so so happy for it to be reissued and on vinyl, original and Demdike remixes are all beyond incredible and absolutely nail the sound of the late 2000s early 2010s post-Sandwell District/Berghain techno and pre-noise/techno/post-punk - an absolute snapshot of a city and sound moving FWD, brilliant cant wait for the wax!!!"
Eric Cloutier (Palinoia, Tresor | Detroit):
"Well god damn. I mean...god damn."
Yu Su:
"These are so good. Demdike Stare's remix also!!"
Ruf Dug:
"Next level even almost 20 years later."
Silent Era (Of Paradise) :
"Great project. What a gem."
An ever-present name in underground house, Alex Celler is back once again on Baby Ford's cult Trelik label. This is his third and maybe best outing yet with 'Twilight Firedancer' being a long and extended dub tech workout with wobbly bass and off-balance drums topped with glowing chords that bring occasional relief to the pressure of the groove. 'Mescaline' is much more busy with abstract pops and squeaks, synth modulations and an urgent, tightly programmed minimal tech groove that you would expect of this label. It's high-class music for mind and body.
Die 90er sind zurück – knallbunt und voller Energie! Mit „Cappella – Best Of“ erscheint endlich eine farbige VinylEdition mit den größten Dancefloor-Hymnen der legendären Eurodance-Ikone Cappella.
Diese exklusive Pressung enthält die größten Erfolge der italienischen Hitmaschine – darunter unvergessene ClubBanger wie „U Got 2 Let The Music“, „Move On Baby“ und „U & Me“ – alle im kraftvollen Originalsound, remastered und bereit für deine Plattensammlung.
Issued in October 2014, debuting at number two on the UK Album Chart and at number five on
the Billboard 200 in the US, where it also became his second chart topper on the Dance/Electronic
Albums chart, Motion is Harris’ 4th studio album and a platinum-seller in the UK.
Packed with EDM crowd-pleasers as well as an impressive range of guest vocalists, including Hurts,
Haim, Gwen Stefani, John Newman and Ellie Goulding, it has been available on vinyl only once
before, a Record Store Day exclusive in 2015.
As Entertainment Weekly noted, “The best tracks on Motion…focus more on high-caliber vocals
than on booty-blasting low end... he's taking his chances with the most unpredictable technology
of all: the human voice."
Queen Dem features multi-talented artists, writing, singing, producing, creating new genres of sound. This album offers a snapshot of the current writing of musical history by women who embody confidence and conviction in their art – whether they are firmly-established artists such as Yaya Bey, Yaeji, Dizzy Fae, Sudan Archives, COUCOU CHLOE and Georgia Anne Muldrow or under the radar rising stars such as Queenie, Aunty Rayzor, Vanessa Tha Finessa, MC Yallah or Nira.
Die Kult-Reihe geht weiter! „80s Techno Tracks – Vinyl Edition 4“ ist die neueste Ausgabe der erfolgreichen Compilation-Serie, die die elektrisierende Energie der 1980er Clubszene auf Vinyl bringt. Diese Edition vereint erneut rare und legendäre Extended Versions von wegweisenden TechnoTracks, die das Fundament der heutigen Clubkultur legten.
Mit dabei sind Szenegrößen wie Westbam, Noise Control, OFF und viele mehr – in voller Länge, remastered und bereit für den Plattenteller. Ein Muss für Sammler, DJs und alle, die die Wurzeln des elektronischen Sounds feiern wollen.
Repress!
Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) And 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, Juju Of The Beatnuts, Ra The Rugged Man, & Meyhem Lauren. Packaged in a 70+ Page Hardcover CD Casebook / 2LP on Clear vinyl with Lyrics & Cover Art From L'amour Supreme (Mishka NYC). Includes a comic, written by Esoteric with artwork by Gilberto Aguirre Mata (El Ultimo Codice) & L'Amour Supreme. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn't concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group's fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the '90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it's fair to say that all three men have stepped up their game. We knew how we felt about the last album, but weren't sure how it would be received by listeners,' explains MC Esoteric. But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.' Inspectah Deck adds, Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I'm in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I'm here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC.' The fighting analogy - whether drawn from pugilism or '80s wrestling, both which figure into Every Hero Needs A Villain - is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.' On the production side, 7L shows yet again - as he did with the group's debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn't enough, it's all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L'amour Supreme, and with Death & Abduction,' a comic written by Esoteric, and an explosive, comic-book-inspired cover by L'amour Supreme (Mishka NYC).
01. Don The Armor
02. Czartacus
03. Lumberjack Match
04. Nightcrawler (Feat. Method Man)
05. World Premier (Feat. Large Professor)
06. The Great (Czar Guitar)
07. Red Alert
08. Junkyard Dogs (Feat. Juju Of The Beatnuts)
09. Sgt. Slaughter
10. When Gods Go Mad (Feat. Gza)
11. Ka-Bang! (Feat. Mf Doom)
12. Deadly Class (Feat. Meyhem Lauren)
13. Escape From Czarkham Asylum
14. Sinister
15. Good Villains Go Last (Feat. Ra The Rugged Man)
Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.
AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.
As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.
For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.
This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.
Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).
Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).
The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.
The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.
The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.
2024 Repress
The ever-reliant Deepchord kicks off 2014 in his usual stylish way with two deep cuts in the Luxury EP. After last years jaunt into the ambient with 20 Electrostatic Soundfields, Rod Model return to the world of slick beats and even dreamier synths and atmospheres.
Luxury 1 ebbs in majestically as beautifully crafted layers of synths glide across field recorded drops of water that instantly play with your senses. Pumping sub bass fills the rest of the spectrum as Rod does what he does best by creating an unending slick groove, pieced together by crisp percussion.
Yet more atmospherics come into play in Luxury 2 as otherworldly field recordings are brought to life through the use of Rod's unique processing and layers of dream state synths. A perfectly worked groove seems to come out of nowhere and glides gently under the atmosphere; again subtle percussion ties everything together seamlessly.
The master of Deep Techno strikes again with nothing short of 2 elegant works that typify his skills as a producer.
Pan-Pot - Luxury 1 +++++
Alan Fitzpatrick - digging this! excited to play it!
Steve Rachmad - Luv Luxury 2
Joel Mull - Lovely warm music. Timeless pieces right here.
Jonas Kopp - cool vibes over here , thanks.
Tommy Four Seven - thanks!
Markus Suckut - deepchord as I like him!
Martin Landsky - yep...both tracks are brillant..Deepchord never disapoints....
Nadja Lind/Klartraum - what a luxury indeed :) Happy New Year!
John Selway - into Luxury 2
Stacey Pullen - cool thanks
Shlomi Aber - another cool one from soma
Heron - This deepness is more than impressive. Completely mindblowing!
Manic Brothers - Both tracks are super fat ! Thank you :)
Toma Hades - Epic tracks ! it sounds like real film music ! love it ! :)
Daniel Stefanik - follow them from the beginning. i love it! thx.
Vector Lovers - Lovely mixes, really warm production to chase those winter blues away. Great start to 2014!
The Welderz - Great opener tracks !
Master-H - Fantastic release! I Love DEEPCHORD!
Hermanez - love the sound from deepchord, thank you
Kazumi Ihii - Quality release as usual from Deepchord
“Longtime fans will be pleased by the sonic variety on offer… for truly hardcore bass concussion addicts.” - The Wire “The Bug continues to be one of the best and most interesting producers out there of all time.” - The Needle Drop Burials / Mud features new renditions of the Machine LP tracks “Drop (Machine Sex)” & “Buried (Your Life Is Short)” with blistering vocals from LOGAN (on Bury Dem) & the previously released “Deep in a Mud (ft MAGUGU)”. The 12” is rounded out with 2 unique DUB versions of “Bury Dem” & “Deep in a Mud”.
Joe Bataan's extensive discography was expanded in 2022 with the release of some old recordings from the King of Latin Soul that had never been previously published. After the success of his album "Riot!" (1968), Bataan had easy access to a studio whenever inspiration struck to record a new song sketch or even a complete track. Sometimes, he would finish the recording entirely and offer it in its final version to Fania for release. This usually worked, although on some occasions, the song was rejected. In the case of 'Drug Story,' the track was recorded without a clear final purpose, even though Bataan hoped it would become part of an album. When the Fania executives heard the result, they immediately rejected it, thinking it promoted drug use. The tapes were filed away and lost in oblivion until they ended up in a thrift store in New York. From there, they were rescued by a Latin music specialist and later sold, eventually making their way to the Vampisoul archives. The song was finally released in its entirety in 2022 on the LP "Drug Story" by Now Again. It features a long, slow vocal intro that evolves into a more uptempo track with two very distinct parts, to the point that it almost feels like two different songs. It transports us to the best moment of Joe Bataan's career, with all of his classic ingredients, delivering a track as good as his most famous songs. Bataan himself takes on the lead vocals and piano, Bobby Rodríguez handles the flute, sax, and bass, Pete 'Choki' Quintero plays the drums, and William Howes Jr. plays the electric guitar with wah-wah effects. Vampisoul strongly believes that the song deserved to be released as a single as well, and that its structure was perfect for each side to have a separate identity. So here it is, for the first time on a 45, 'Drug Story,', parts one & two, the long lost track by Joe Bataan. Pure Latin soul, recorded at the peak of the artist's career!
* V Recordings and Tim Reaper's Future Retro London have joined forces to unleash "One Stop Mr Driver," a track that channels the raw energy of '90s jungle. This release features both the original mix by the legendary Krust and a fresh remix by Tim Reaper, bridging the genre's roots with its modern resurgence.
* Kirk Thompson, professionally known as Krust, is a seminal figure in drum and bass. Emerging from Bristol's vibrant music scene, Krust co-founded the influential Full Cycle Records alongside Roni Size, DJ Die, and Suv. His innovative approach has produced classics like "Warhead" and "Soul in Motion," tracks that have left an indelible mark on the genre.
* London-based DJ and producer Tim Reaper has been pivotal in the revival of jungle music. Through his label, Future Retro London, Tim has showcased a plethora of talent from the modern jungle scene, earning accolades such as DJ Mag's Best of British Breakthrough Label award in 2021.
* "One Stop Mr Driver" was a coveted dubplate from the '90s, never officially released but highly sought after by enthusiasts. Recognizing its timeless appeal, Tim Reaper has crafted a remix that preserves the original's amen break-driven intensity while infusing it with razor-sharp modern production.
* Bryan Gee, the visionary behind V Recordings, has long admired Tim Reaper's contributions to the scene. This collaboration marks a rare partnership in V Recordings' three-decade history. The fusion of Krust's pioneering sound with Tim Reaper's modern touch honors its roots while embracing the future of drum and bass and jungle music.
* "One Stop Mr Driver" will be available digitally and as a limited edition 12" vinyl release.
"tilt your back
pay respect
hand on heart
we were raised without table,
without manners,
where is it we gather this time?
In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.
Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.
Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."
