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DJ Oonops presents Volume 2 of his extensive compilation covering genres from Dub, Jazz, Funk, Soul to Beats and Hip Hop featuring pretty well known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC).

Be that jazzy beats or virtuoso live jazz drums, keys and guitars from Japan by Kazumi Kaneda, RF and 45 a.k.a. Swing-O, a first-time- on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia.

Also you gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powervoice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork.

Be sure to get your hands on this limited peace of work before it's gone like Volume 1. About Oonops: beside his vinyl only show on Brooklyn Radio he is spinning banging club sets to relaxed mixtures for vernissages, museums or theaters. And furthermore he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.

The first album on Numbers from Complete Walkthru aka US producer Max McFerren, titled Scrolls, is out on 20th September 2019.

Scolls plays around with themes of privacy, disillusionment and personal development over eleven tracks, representing a transitional time in McFerren’s life. Through Scrolls’ early stages he moved from New York, where he was holding down a residency at Brooklyn’s Bossa Nova Civic Club and playing regularly in downtown Manhattan at the iconic China Chalet and the now much missed Santos Party House, to the open, rural setting of South Carolina.

The albums personality, and the thematic preoccupations underlying it, reflect the impact of this contrast. It’s sound textures cast widely into what McFerren describes as “the ephemera of the saturated digital realm” while moving through arcane rhythms, chiming melodies and expansive, metallically tinged ambient passages. First single Lean In, streaming in full now, is a dusty breaks-tight miasma of fragmented cyber-consciousness. There are playful, hyperactive refrains on Getting Ridiculous. Leavin’ Church Early is an expansive beat free meditation, while NYC’s dynamic momentum is a cityscape of bad-faith corporate aspiration.

McFerren refers to his motivations with Scrolls as being “anti-nihilism”, as reacting against a dark emptiness he perceives in certain forms of techno. Ultimately with the record, he is seeking the potential of centring joy in the present moment, in a conscious awareness of now.

Inner atmos and next time – rain into rivers, rivers to rain.

Sequence is subjective, irrelevant – it’s where we stand. Out of order, we dissolve and reform, coming together to come undone. There is no first, no now, no next – just precision points in the wide deep sky.

Another bang, another – it’s the reading which is important. Repeating in parallel, the natural loop is healing; repair, resonance, return. We live in a fragment; soft light and clouds drift like dreams into memory, showing movement in the mirror.

“Here the performer becomes free like the playful clouds high above the world of pain, suffering, happiness, ecstasy, disappointment, greed and ambition of human life”

In this present, we are touched to have unreleased business from Memphis. In unlocking the stoic DAT tapes we open a direct channel from 1993 to this now; three tracks which are meditative, essential rhythm with direct, organic charge. It’s Dream Night Dance Music and Osram 509, with RHK, En-Trance, and Microgravity.

More poetry in remembering our first release was also Memphis. Big complex loops and inner paths. Who’s been here before? All of us, one of us, none of us.

Moon Boots a.k.a Pete Dougherty returns with his second studio album ‘Bimini Road’ on September 6 via Anjunadeep. An ambitious and evocative follow-up to his acclaimed debut First Landing, Bimini Road combines delectable club-ready grooves with soulful songcraft into a seamlessly organic whole. Inspired by notions of mysterious lost civilizations, ancient magic utopias and the sci-fi landscapes of the mind, ‘Bimini Road’ is a joyously celebratory listen that builds off the ‘deep textures and funky melodies’ (Mixmag) of his album 'First Landing', a disco house masterpiece supported by KCRW, Annie Mac and others. Featuring familiar faces KONA, Black Gatsby and Nic Hanson among the featured vocal talent, ‘Bimini Road’ also includes new collaborators like rising US talent Niia, Kaleena Zanders and notable British sing-songwriter Little Boots. OutJuly 9, ‘Tied Up’ is the first single off the album, a sexy slice of deep house pop sure to ignite dancefloors and bedrooms alike. Moon Bootsembarks on his Live Bimini Road Tour this Fall, with dates across North America and Europe. Born in Brooklyn, Moon Boots’ musical obsession started not long after he could walk. His early love of piano lead to a passion for keyboards and synthesizers. Teenage nights lost in the work of Daft Punk, ATribe Called Quest and Herbie Hancock followed. Inspired by legends like Frankie Knuckles and Derrick Carter, he moved to the house music epicenter of Chicago, where he tirelessly passed out demos to local DJs and scoured the web for like-minded people with whom he could share and expand on his sound. Heplayed in a synth-pop trio whose demo caught the attention of Lupe Fiasco, and after a stint touring alongside the hip-hop icon, Dougherty went back to DJing with a renewed focus. The stars aligned when he had a chance encounter withPerseus, founder of an adventurous label, French Express. A fellow junkie and fan of French House and R&B-infused dance music, Perseus became a friend and mentor, the Splinter to Boots' Donatello. The label eventually disbanded but Boots has stayed true to his mission of making dance tracks that can’t be confined to one style. Pete blends the music he loves --jazz, house, funk and soul -- into songs that last longer than their runtime. Songs not just for DJs, but for everyone.

The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based
experimental hiphop musician Killer Bong (Black Smoker Records)
Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats,
among others.

The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The
Wind Blows) was originally written by Koichi Yamanoha and released under the name of
Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le
Volume Courbe)’s Pickpocket Records / Honest Jons in 2014.
London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been
operating under the guise of Grimm Grimm since 2013. The project is an outlet for his
fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic
oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A
track “Last Word Is Mine” from the album was used over the end credits for the Aaron
Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring
William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018.
And currently the 3rd album has been mixed and co-produced by Marta Salogni.

The virtual 3D music video for Klein remix has been directed and edited by London based
film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd
generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX
work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke
night as well as being a sought after collaborator throughout Europe.

J. Robbins has been the guitarist/singer and primary songwriter (or pushiest collaborator) in several bands since the early ’90s, including Jawbox, Burning Airlines, Channels, and Office of Future Plans. He has also played bass for Government Issue and the Vic Bondi project, Report Suspicious Activity.
For the bulk of that time, he has also been active as a recording engineer/producer, working with musicians from around the world at his Baltimore-based studio, the Magpie Cage.
J. started performing as a solo artist around 2010, making occasional low-key releases on Band- camp and contributing to two benefit compilations that were released on Germany’s Arctic Rodeo Records.
Un-Becoming -- which came together in short bursts of activity spread out over the long stretch between 2016 and 2019 -- is his first full-length solo record. On 11 of the LP’s 12 songs, J. is joined by Peter Moffett on drums, Brooks Harlan on bass, and Gordon Withers on cello and gui- tar.

More golden era heat from the nervous vaults! It keeps coming!
Another stripped back, rough & raw banger from the vintage mid-90's output of Brooklyn's Black Moon crew, a legendary group.
'Powaful Impak' . still sounds super heavy today, a swirling mixture of dancehall vox, Busta samples and ultra raw and banging SP1200 loops courtesy of the mighty Evil Dee & Mr. Walt aka Da Beatminerz. Nobody comes close to the ferocity of this, super hard, street level hip-hop that encapsulates NYC beautifully, ultra gritty! Throw on your timbs, Carhartt jeans and jump the turnstyle to this right here. Essential vintage rap, instrumental included. Cop that.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

Craig Leon revisits the extraterrestrial origins of civilization on Anthology of Interplanetary Folk Music Vol. 2: The Canon, a continuing chronicle of his early 80s albums Nommos and Visiting. Exploring the cosmic lore of Leon’s earlier work, The Canon expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.

In 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released Nommos, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology.

After viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind.

Nommos, curiously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, Nommos and its sequel, the privately pressed 1982 album Visiting, careened into obscurity.

In the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the Anthology of Interplanetary Folk Music Vol. 1., the 2014 archival collection which presented Nommos and Visiting as they were intended to be heard, two sides of the same coin.

The Canon picks up where Nommos and Visiting left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s ""The Canon,"" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.

Though the music – propulsive and spacious – is clearly of a part with Nommos and Visiting, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. The Canon implies – through ecstatic, contemporary sound and synthesis – that the origins of Western thought, and civilization itself, lie in the great beyond.

Nearly four decades since their first collaboration on Nommos and Visiting, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of The Canon, consciously engaging many of the same synthesizers and programs of Anthology of Interplanetary Folk Music Vol. 1 for Vol. 2.

The trumpet/flugelhorn legend’s 1960 album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 19th June 1960. Featuring Tina Brooks (tenor sax), McCoy Tyner (piano), Sam Jones (bass) and Clifford Jarvis (drums). Features classic self-penned pieces such as the title track and ‘Hub’s Nub’, plus unique takes on the standards ‘But Beautiful’, ‘All Or Nothing At All’ and ‘One Mint Julep’. Produced by Blue Note co-founder Alfred Lion.
The famous album cover designed and photographed by other co-founder Francis Wolff.
Liner notes by the much-respected, recently-deceased jazz writer Ira Gitler.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Bastard Jazz is proud to present the new EP from Vancouver's AstroLogical, also known as one half of production duo Potatohead People. With a long list of collaborations outside of the group ranging from Pomo, Phife Dogg, Illa J and Chin Injeti - Astro's new EP "Private World" resides somewhere in between jazz, soul, ambient and future electronic vibes with it's lush keys, chunky breaks, and deep musicality.

Nate Drobner aka. AstroLogical is a multi-instrumentalist producer/composer based in Vancouver, B.C. Canada.
After releasing a number of solo instrumental hip-hop projects through the net label Jellyfish Recordings in the early 2010's under the AstroLogical alias, he had began focusing his energy on the producer duo Potatohead People; a collaborative project with his old friend Nick Wisdom, eventually getting noticed signed by Brooklyn-based record label Bastard Jazz in 2012 (with the help of Nightmares On Wax). Their 2018 full-length sophomore album 'Nick & Astro's Guide To The Galaxy' was released to great acclaim and led them to be invited to Jazzy Jeff's annual Playlist Retreat alongside such luminaries as Lord Finnese, Young Guru, and Pharaohe Monch.

Old time something come back again! Victor Axelrod at the controls, taking an early Daptone classic from the Lee Fields & Sugarman 3 repertoire into the world of 60s ska – featuring a new singer we think everyone will be talking about once they hear this simply because... this man is on FIRE! We present to you Leon Dinero. Some might recognize the flash of his gold tooth glimmering in the dark dances between Jamaica and Brooklyn and now we have him on record with more to come!

The vocal “Lover Like Me,” snake-charms you into what could easily fool some to be an unreleased Alton Ellis cut that was long lost in Prince Buster’s tapes. Leon gives nods to Lee’s original vocals while taking the vibes to another island. The flip “Conscience is Heavy,” has The Inversions capturing the powerful Blue Beat kick-drum punch and organ bubble that is sure to keep a dancefloor shuffling and the know-it-alls guessing.

* 180 gram audiophile vinyl
* Insert
* Limited Edition of 1000 numbered copies on Clear & Solid Yellow mixed coloured vinyl

Dead Serious is the debut studio album of American hip hop duo Das EFX, originally released in 1992. Recording sessions for the album took place at Firehouse Studios in Brooklyn, New York and at Charlie Marotta's North Shore Soundworks studio in Long Island, New York.

Dead Serious caused an immediate sensation upon its release. The album was a certified hit, peaking at 16 on the U.S. Billboard 200 chart, topping the Top R&B/Hip-Hop Albums chart for five weeks. Dead Serious went platinum on the strength of the singles "Mic Checka" and the Top 40 pop hit "They Want EFX", by 1993.

Well-received upon its release, Dead Serious has since been regarded by music writers as a significant and influential album in hip hop. Giving it a 4 out of 5-mic rating, The Source's Matty C compared the duo's lyrical style to that of Busta Rhymes, Treach, and EPMD.

Names You Can Trust's long-running Swing-A-Ling party in Brooklyn has become an epic warm weather celebration of all classic styles of Jamaican sound system music on vinyl. The party itself, set in the deepest crevices of BK's Caribbean community, has been known to stretch for 12+ hours each session, serving non-stop musical entertainment and buckets of jerk chicken & curry goat to an adoring crowd of all ages, young and old. The event has also been the occasion of some extremely limited edition record presses that have come to embody both the ethos of the party and the NYCT label. The second in the series of the playfully titled Swing-A-Ling NOW SOUNDS is a new entry in modern reggae production from The Mad Geezers. Like the party's signature sound, the tunes on this double-sided single are timeless, intriguingly left-of-center, and most importantly in deep homage of the vast influences and inspirations that have been carved to vinyl throughout Jamaican recorded history. Elements of rock steady, dub, soul and middle eastern snake charmer sounds all find their way through the hands of the Geezers' skilled musicians and the resulting 45 record is sure to be another sneaky staple in sound systems all over.

Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase. Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.

The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Madvillain Vol. 2" follows on from the 2018 release "Madvillain vol. 1" and further explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation. As with vol 1. there is a strong influence of Quincy Jones, Lalo Schifrin and David Shire(Composer of the soundtrack to The Taking of Pelham 123) on the album, and the arranger Rob Mitchell crafts his own sound that inhabits the space between Madlib's production and Quincy Jones' writing.

As a bonus track to the album, Abstract reworks Dabrye's 'Air' and have included the original vocal of MF DOOM. Dabrye's original is heavily soaked in synths and drum machines, with an almost sci-fi, Blade Runner or Tron-esque sound . Mitchell explores this further and is influenced by Bob Brookmeyer's late work 'Electricity', which explores synths and jazz orchestration.

Madvillain Vol. 2 will build on the success of vol. 1 which received enormous support from Gilles Peterson & Huey Morgan on BBC6 Music as well as numerous airplay on Worlwide FM and Jazz FM, and reviews from soulbag in France and ukvibe, qwest.tv, and vinyl district online.

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

Yo Falty why don't you do the old school shuffle anymore What happened, maaaaan OK, held this one back from 2011. All the garage and 2-step workouts I made were inspired by hours and hours of listening to Horsepower Productions, Zed Bias, El-B, Darqwan... I studied them. This tune in particular inspired by Benny Ill himself. Ill Bent was never released, I always held back some exclusives for my sets. No one had it. Benny Ill remixed the track in fine style, both Straight up and with a Fat Larry spin. We were talking, Benny and I, and he mentioned he used to live in Brooklyn. So he submitted Is It Safe, a tune he made while living not far from where I live now in NYC, to conclude the EP. Heavy! (note, the first letter in Benny's last name is a capitol 'i') Track A1 produced by FaltyDL

Kalim Shabazz looks to find common ground between the old and the new. Electronic music with a soul. Organic electronic music that moves the dancefloor in a new, but not unfamiliar, direction…

This 3 track EP with keyboardist Jerrell Battle signify the true organic deep house vibe with "Bassic" a deep melodic journey with guitar riffs that moves you. On the flipside "Dana Byrd" beautifully demonstrates the power of the voice as "She" is dedicated to the most important women in our lives. Delivering that true NY Soulful vibe you would hear at the Shelter. Lastly "Sound Module" finishes the record with straight deepness.
Shabazz a true Brooklyn native, made his mark in New York in 1993 with his legendary Afterlife party with Kim Lightfoot. Since the early 90's Kalim has been working with partner Nick Jones; recording history together with their first release, “Wake Up People”, on Bobby Konders’ Massive B Records which featured Satoshi Tomiie & Cassio Ware. Shabazz and Jones continued this partnership under various studio monikers including ‘Moments of Soul’ and ‘Soul Movement’ with releases on labels like Wave Music, King Street Records and Shelter Records. The rest is history!

The Naturals' debut album is more than just an rediscovery of one of the great lost albums of the last decade, but of how things were always intended. When Eddie Ruscha (Secret Circuit) and Thomas Bullock (Rub'n'Tug/STD) appeared as The Laughing Light of Plenty, their journey offered untold troves. Now at last the pulse is set for outer orbit and all are welcome to join.

After a mind-melting debut EP sold again and again, an album expanding their unique psychebalearicfolk imaginings was prepared and even pressed before being lost somewhere between a lock up in New York and limited quantities reaching Asian shores and dealers
trading at dizzying Yen.

Lost, but never forgotten, years passed until a nagging memory that an earlier, rawer mix had always been superior. A return to the original band name seemed The Natural(s) choice and so a project idea started to be (re)born.

A sunny Spring afternoon in a grand English garden, pots of tea, talk of life's travails, deep yogani, love affairs, kids growing up, the power of now and music, always music led to two labels coming together to dust down the desk and not just resurrect, but seek and offer the original intentions.
Here at last is the double album as intended. Of two great friends jamming their deepest vibes and flowing with love to offer tales of higher consciousness. Travel inward, beyond meer chakras. Aim for the stars. The devil is in the details so see the trails and follow to some avail.

Begin your own journey.

Malik Hendricks is a rhythmically inclined aesthetic enthusiast born in the 80's, and raised in the 90's. A DJ for over a decade, he has always approached music with a rigorous curiosity and views the dancefloor as the ideal arena for collective cultural appreciation, a place where the quest for knowledge meets the quest for experience. Dance is the true language of the body, and a gateway to the recognition of our shared humanity.


Money Cat Records - Round black records bringing good luck. Linking motion with emotion, dance unites the body and soul of all who participate. Music from Brooklyn to the world. Established in 2018.

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









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As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

SC-164 is a new label based out of Brooklyn, NY, run by Greg Schappert aka Donor.
The Channel series is set to include a run of electro and experimental EPs under his SC-164 alias. For the second installment, he presents inventive, rough-edged future music with no signs of human life, and it's utterly thrilling.

The first track is a blizzard of frosty, serrated synths and hard drums that are designed for dance floor destruction. 002-002 continues this way, an intergalactic face-off, with laser synths firing across the face of jittery, punch drum programming. Textured and raw, it's pure and powerful machine music. Next up, 003 layers up ghoulish white noise and synth bleeps that are brilliantly bleak and dystopian. The closer is a roaming electro cut, with menacing bass and groaning synths taking you to the heart of a stone-lit frenzy.

Down co-founder N'conduit presents his third solo release on the label with Latent States. The first release to come out of his new Brooklyn studio, Latent States has three original jams inspired by defunct beverages and dormant memories. From the A1 though the flipside, expect dirty modular basslines, warbly reel-to-reel FX, dusty saturated beats, and spaced out feedback. October, Bristol-based DJ/producer and O.G. Voodoo Down confidant, has contributed an ac

James Place returns with his new LP "Still Waves To A Whisper" (the fourth release on Umor Rex). Flitting between the dreamworld of hauntological synth music and hypnotic techno functionality, Still Waves To Whisper showcases James Place's continuing development of dramatic (and varied) sound worlds.

Musically, Still Waves To A Whisper contains both some of the most immediately danceable and straight up beautiful tracks of James Place's career. Utilising voice samples from the same source as his last album, Voices Bloom, opener 'Known Cry' is a heavenly coda of sunlight bursting through clouds, warm synths drifting across restrained pulses. 'Timing and Lighting' went through countless live iterations before the current version was tracked for this album, a tunneling exploration of rhythm with a dose of sardonic humor. 'Move In Blue (Homeward Mix)' is James Places' rework of a track from 2017's Voices Bloom, obsessively remixed and revisited, here littered with additional melodies and populated by newly sampled voices. Closing track 'Names' is perhaps the most outright beautiful James Place recording to date. A stripped back rework of a live version of Living On Superstition's 'Another Mourning In America', the tune is based on a melodic line written after the studio recorded version. Interwoven with a sampled vocal, and rinsed of all of the original song, 'Names' is left behind a stark and compelling descendant. The digital release includes a remix of 'Move In Blue' by Persuasion aka Devon Hansen.

The title, Still Waves To A Whisper, stems from a conversation between Place and another artist on methods to ease anxieties and the benefits of a focused practice. The hope's for this music to continue that conversation on a larger scale.

All songs written, produced and recorded by Phil Tortoroli between 2015 — 2018 in Brooklyn, NY. Vocals by Sam Sally and an unknown guest.

Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos & Design by Daniel Castrejón.

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

The Brooklyn-born and Berlin-based artist Dustmite returns to his own Supervoid Records imprint with 'Deep In' EP. The warm, percolating melodies, velvety textures and rocky percussion in these four techno tracks create an undeniable sense of positive tension that is deep and impactful, yet still agile and nimble.

Massturbator was originally recorded 1995 in Bizz O.D.'s kitchen in Brooklyn, New York. This hardcore acid 12" went straight to number #1 of the CMJ techno charts back in the days and has not lost any of it's Acid-Punk power. The four tracks are somewhat of a blueprint for bands like Animal Collective's hyper-jazz or Sleaford Mods proto-punk. They mentioned Massturbator in interviews as an inspirational force. For most DJ's too fast, too hard, but thanks to modern technology you can always pitch down 30bpm to please some fat ass, old, Berghain crowd. Jack Off and hail mAssturbator!

The great jazz guitarist Kenny Burrell on one of his most celebrated sets of all-time. Recorded live at the Five Spot Café in New York City on August 25, 1959, this is the second set and the band is really cooking. Featuring the brilliant drummer Art Blakey as well as the wonderful, but unfortunately under-recorded tenor saxophonist Tina Brooks, Burrell's band is in tip-top shape on this set of compositions ranging from originals to Gershwin to Gillespie. An essential live jazz set for any fan of the golden era of modern jazz.

"I love you" is arguably one of the best obscure soul ballads out there. The highly anticipated re-release of this rare and collectable 45 is another collaboration with my good friend Brian Sears, Brooklyn based collector/researcher. Hailing from Dallas, Willie Griffin is a self-taught guitarist and singer-songwriter with a very unique style, which is on full display on both sides of this record. Although "I Love You" has long been a favorite among ballad collectors, do not sleep on "Where There's Smoke, There's Fire". For this limited release we were ecstatic to uncover the original master tape from 1984, in pristine condition, yielding the perfect reproduction. We hope you enjoy this special record.

Elbee Bad, LB Bad, The prince of dance music, has been making music from the early days of 1988, this Brooklyn raised artist had recorded on Nu Groove, and his legendery Laharon label to name a few, with a style of his own, this release carries on in the tradition.

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

You might know Peter Matson as the founder, frontman, and guitarist of NYC-based breakout band Underground System, who recently released a debut album of otherworldly global-dance anthems (on Soul Clap's self titled imprint) and have been touring their live show at venues around the US. Matson's roots, while nestled in worldly live sounds, also firmly grip deeper dance music styles, though they manage to still pack a refreshingly eclectic energy.

His debut EP 'Short Trips' for Brooklyn's Bastard Jazz connects the dots between his time moving bodies in the club as a DJ, as well as in his group as a guitarist and producer, though this record is better suited for a woozy club floor. "Roma Norte" kicks off the wax with its soulful cocktail of latin-house styles and hypnotic basslines that would elevate the opening hours of any club night. Deep house legend and Freerange Records boss Jimpster provides an ethereal, creative remix that delves into afro-house territory. "3AM to Sete" is a warm and bubbly deep house tune that sounds like something you might hear late-night in a South London nightclub—it's all warm bass vibrations and subtle synth explorations. Matson's seasoned instrumental skills shine on "126," another breezy synth jam with just enough punch to make you move, eyes closed, of course. 'Short Trips' sounds like the work of someone not interested in where one scene ends and the other begins, but instead, where they connect.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Cigarettes After Sex are an ambient pop group based out of Brooklyn NY, led by vocalist/songwriter Greg Gonzalez and are inspired by the likes of Cocteau Twins, Mazzy Star and the sound of early 60s records like the Paris Sisters.

The band became a word-of-mouth phenomenon, generating over 100 million views on YouTube for their exquisitely yearning, graceful pop noir - all without the support of a label. They partnered with
Partisan Records for their debut album, which was released in June 2017.
'Crush' was written and recorded in the same sessions as the album, however was previously unreleased. The B-side is recently released 'Sesame Syrup' (also taken form the album sessions). This 7' will be the first time either of the two tracks have ever been available physically.

'Languid dream pop bleeds into one beautiful, fuzzy headed whole... the intoxicating atmosphere lingers long after the tracks have played out' - Mojo 'A 21st century Don Juan' - Pitchfork

Miss Information is Miho Hatori (Cibo Matto, Smokey & Miho, Gorillaz, too many all-star Lower East Side collaborations to name).

Miho Hatori created Miss Information while in residence at Brooklyns contemporary arts gallery/creative hothouse, Pioneer Works. Miho began with a simple concept, What if information was a woman She had been

contemplating information not as dominating with ofthidden data-points, but something akin to the moon, a mysterious natural energy that, in her words, brings change to the planet.

SC-164 is a new project based out of Brooklyn, NY. The Channel series will include music exclusively by Greg Schappert aka Donor, under his SC-164 alias, and will be focused around Electro and Experimental music.

Welcome the new vinyl only iprint "Brookly Bridge Music" The first release comes from Lose Ends. 4 Beautiful minimal funky house cuts. Worth to check!