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Pleasure Zone welcomes OGEID to the Family! Diego Figari is an old friend, so it's more than a pleasure to have him finally on board including another good friend who is Funk E. He delivered a huge remix on this great EP.
Highly Recommended!

A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.

The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.

"Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.

For years, Frente Cumbiero has served as the torchbearer of a new wave of experimental exploration in the diverse modern-day cumbia canvas. Led by Mario Galeano Toro, a Colombian native and accomplished veteran of Bogotá's rich music scene, the group first connected with listeners outside of South America via their head-exploding 2010 debut on Names You Can Trust. "Pitchito" would become a cult favourite, a catalyst for the Brooklyn-based label, and soon after a bonafide rarity. Those beginnings of Frente Cumbiero focused on an honorary recognition of the massive musical impact that the many formations of cumbia have had over the decades within Colombia. Subgenres such as gaita, porro, vallenato, and caracolito, to name just a handful, have all played their part within the evolution of the country's tropical music lineage. That deep-digging determination coupled with a truly unique and talented musicianship has informed Frente's music, some of the most forward-thinking and reverential examples of the current tropical scene. It has led to some incredible opportunities and collaborations in Europe, Asia and the States, including genre-defying recordings with London's Mad Professor and Japan's Minyo Crusaders.

Still, Galeano Toro's assemblies with Frente Cumbiero have been scarce amongst his other exploits, splitting time as player and producer in other ground breaking projects like Ondatropica and Los Pirañas over the recent years. After three 45 single releases together with NYCT, the time away has left everybody wanting for more. Now, reassembled and seasoned with years of touring and gigging in a multitude of projects, the group's current quartet of Galeano Toro (keys and synths), Pedro Ojeda (timbales and percussion), Marco Fajardo (tenor sax) and Sebastián Rozo (bombardino) is a stripped down powerhouse of unadulterated psico-tropi swing, a beautiful Colombian musical stew, incorporating a host of flavors from the melting pots of the Pacific, Caribbean and Atlantic pathways. The final result is of course quite unclassifiable, simply a new breed of good music and a dancefloor delight.

Led by French B3 Hammond maestro Guillaume Metenier and featuring an all-star lineup of musicians from the extended Mocambo fam, Pigalle Connection connect the dots between instrumental funk, b-boy breaks and cinematic soundscapes. After their celebrated and battle proven 45 "Paris Breakdown", this fantasy funk supergroup is finally back with a new double delight on 7 inch wax.

"Casino & Church" / "Vendetta James" is a nod to Peter Thomas and Ennio Morricone, two massively influential score composers who both sadly passed away in 2020. A-side "Casino & Church" is a blistering blend of afro-boogie, breakbeat funk, blaxploitation and eurocinema, led by hypnotic percussion and an infectious guitar. Flip to the B-side for "Vendetta James", where Mediterranean funk meets Italo Western and b-boy breaks in a sequence of hazy atmospheres and alluring moods.

Recorded live to 8-track tape with vintage equipment and instruments, both sides of Pigalle Connection's new 45 showcase the band's unique sound and deep appreciation for great film scores and heavy funk.

Having previously brought together world-renowned Theremin soloist Carolina Eyck and electronic producer Eversines for a specially commissioned collaborative mini album, yeyeh founder Pieter Jansen has now conjured up another unlikely but inspired joint album, this time featuring award-winning free-jazz vocalist Greetje Bijma and leftfield house, techno and ambient producer Oceanic.

The project has its roots in a chance meeting between Jansen and Bijma, a legendary figure on the Dutch jazz scene who in 1990 became the first woman to win the country’s top jazz accolade, the VPRO/Boy Edgar award. Apart from having previously worked with the likes of Anna Homler (aka Breadwoman), Jasper van ’t Hof, Han Bennink, Louis Andriessen and Willem Breuker and her own solo projects, she’s in a league of her own.

Jansen is a big fan of Bijma’s 1996 heavily electronic collaboration with Jasper van’t Hof and Pierre Favre, Freezing Screens, and was with the friend who first introduced him to it when he bumped into Bijma.
Excited to meet someone who had made one of his favourite records, Jansen took the opportunity to ask Bijma if she would be interested in working with young electronic music producers. To Jansen’s delight, Bijma quickly agreed.

Weeks later, Bijma stepped into the studio with Oceanic, a rising star of the Dutch electronic underground whose releases as Oceanic for Nous’klaer Audio and BAKK Plafond revolve around mechanical rhythms, opaque ambient textures, minimalist melodic movements and effervescent electronics. The pair quickly connected on an emotional and musical level, with Bijma taking her cues from Oceanic’s electronic sounds and rhythms, and Oceanic drawing inspiration from Bijma’s dexterous, mind- bending and otherworldly vocalizations.

After two hugely productive days, the cross-generational duo had completed a couple of mesmerizing songs – breathlessly haunting album opener “Swallow a Party” and chilly ambient closer “A Window Drifting” – and recorded several hours or improvisations that Oceanic later edited, layered-up and re-modelled.

The results are little less than spellbinding. The range and versatility of Bijma’s vocalizations is breathtaking, while Oceanic’s music – which cleverly incorporates the free-jazz singer’s vocal notes, tones and proclamations – swings between becalmed beauty and breathless intensity.

Some of the set’s most striking moments are those where Oceanic re-contextualizes Bijma’s varied vocal sounds with the dancefloor in mind. On the pulsating “Technicolour Memories”, up-tempo “Step Snakes” and hypnotic “Never Done”, Bijma’s scat outbursts not only ride Oceanic’s rhythms, but also form part of the densely layered percussion tracks beneath.

Like the release’s more downtempo and ethereal moments, these hybrid organic- synthetic compositions defy easy categorization, offering a unique brand of alien electronic/acoustic musical fusion that lingers long in the memory.

Following four long years of sonic hibernation, the shadowy sneaker fiends behind the Shoebox series have decided to deliver a fourth EP of intoxicating musical fusions rich in dusty deepness, hazy grooves, kaleidoscopic electronics and glassy-eyed musical mysticism. Some tracks feed the dancefloor while others reward horizontal listening; all are suitably wide-eyed and tantalizingly tactile.

Enjoy delivers with two absolute bangers which are a perfect fit for the AKO10 series. Crush and Don’t You Know are beautifully produced tracks that take you o a journey. Mesmerizing pads, vocal, drums We know once you close your eyes and listen, you will have this on repeat.

The different seeds that have been planted throughout the life of Croatian Amor come to bloom on 'All In The Same Breath,' affirming an equilibrium that's all its own. Spiralling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's 10 tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album 'Love Means Taking Action' Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²™ have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album 'Isa' with its treated vocalizations and cascading rhythmic mechanics. 'All In The Same Breath,' arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem.Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. 'All In The Same Breath' is perhaps more than anything an invitation to be open to wonder.

The New Mastersounds have been delighting audiences with their infectious brand of funky soul-jazz for the two decades since they formed in Leeds in 1999. For the first five years of the band's career they were regulars at the Jazz Café in London, before they began to turn heads on the funk scene in the US, where guitarist/producer/bandleader Eddie Roberts now lives. For over a decade they have been a staple act of the late-night scene during New Orleans' annual Jazz Fest.

Recorded at Color Red Studios in Denver in December 2018, "Shake It" is a fresh Anglo-American collaboration between the band and vocalist Lamar Williams Jr (son of the late Allman Brothers bassist Lamar Williams), with high-class soulful horns from Mike Olmos & Jason Mingledorff, and percussion by Jeff Franca of Thievery Corporation

The first two singles from the album - "Let's Go Back" and "Kings & Queens" - are already enjoying radio support in UK (BBC6Music), France (FIP, RDWA), Spain (Radio 3, Radio Catalunya, Radio Calvia), Italy (Radio Populare), Germany (Radio Z) and Belgium (Radio Skorpio).














j 10. On The Up (S.K.A.) [feat. Lamar Williams Jr]










[j] 10. On The Up (S.K.A.) [feat. Lamar Williams Jr]

Taken from their acclaimed self-titled debut album, ‘One Hand Tommy’ is its latest single and proves no matter how strange our world seems right now, it could always be stranger…

In a blitz session of blood curdling vocals, disarticulated fretwork and wickelly deranged lyricism, ‘One Hand Tommy’ sees The Imbeciles tell us the tale of: Tommy; a child trapped in a dystopian landscape of nuclear annihilation with only a giant killer snake for company.

‘One Hand Tommy’ is the latest exhilarating track to be released from The Imbeciles self-titled debut album - out now. Comprising 13 imploded songs which rarely last more than two minutes, the album was recorded on tape in eight deranged days on the Texan-Mexican border. Packed with stripped-down musical information and resonant with atmosphere, the album was hailed by CLASSIC ROCK as “Some kind of Apocalypse Now” (✭✭✭✭). The band also gained masses of support at radio from BBC 6 Music, Radio X, BBC Radio 1, amongst others. The delirious fun of ‘One Hand Tommy’ is just another reason to believe the hype...

And now it’s been remixed by DJ Tennis & Danny Daze, Mark Broom, Suzanne Kraft and Duncan Forbes.

The remixes have picked up a fantastic amount of support from a long list of names, including this lot – Radio 1’s Pete Tong, Red Axes, Jackie House, Len Faki, Gerd Janson, Laurent Garnier, Ben Sims and more!

Brand new release from Turbo Guidance Entertainment! We deliver a compilation with 4 versatile dubs cooked by our wizards ! Pablo Bozzi (half of Imperial Black Unit and half of Infravision) signed "Sangria Sound System N°1", a slow burner italo-disco track. Perfect to close a cosmic set in the afternoon drinking pepper-mint lemonades! Cowbells everywhere and powerful arpeggiator. Watch out the guy, this year is going to his year! In the second position we have a reggae-disco remix from the man Androo; part of NS Kroo and also well known on the label Music From Memory. He totally switched the
original dub techno track of Babe Roots into something sweet and bouncy. Lobster for you ears. You can even ear autotune on the vocal! Awesome! Coming at the third place, here come Komodo from Indonesia! "Funky Buzz" is a perfect blend of tribal and dub rhythms with a repetitive bassline. Big delays and full effects to rock iguanas. Komodo is a rising star of South Asia, look at the sky to see him shining like a Telsa soon ! And last but not least, we serve you a sweet downtempo riddim from Mali-I aka Z Lovecraft (Rhythm Section). He built a hip-hop influenced track with aerial chords. Perfect music if you want to take the mic and try to toast like a real badboy. Only 400 copies for the world. Sleeve visual is gently printed in risography 3 colors at Shift Studio (Tunisia) - DIY each and everytime.

For the first release, Giordano and Oniks, jin forces as ANAM.

Doppia faccia, where Erratic synths and tweaking patterns create an air of assonance throughout the track and spares minimalistic drums create the drive. FX laden hooks gather momentum as sub heavy drums and spacial atmospheres create the backbone.

Vertebrate leans more on a subtle build up pf the elements as each piece gradually builds and delivers on high intensity.

Don’t fight in the night, brings a more melodic tip but still retains a tough standard drum workout, soundscapes and breaks.

In the future, closes the first Senza Nome release with high-speed rave sounds, counterbalanced by atmospheric melodies.

DJ Lily returns to LILIES this August with the label's sixth release, featuring a collaboration with label partner Sailor Juul and remixes from Inhalt der Nacht and The Mountain Range.

DJ Lily launched the LILIES imprint in 2018 as a Techno focused sub-label of his BROR imprint and has since gone on to release five 12" releases of material from himself, Svagila, Sandra Mosh and Jor-El. Here the label continues with more material from Lily and introduces the debut collaborative material with Sailor Juul, who has now joined ship to run both Bror and Lilies alongside DJ Lily, the fellow Swedish artist features on the lead track here while more productions from the pair will follow soon on the label later this year.

"Bequem ft. Sailor Juul" leads, a high-octane 140BPM cut driven by menacing bass pulsations, dynamic drums, tension building resonance and murky vocal chants. Lebendig label boss and Monnom Black artist Inhalt der Nacht delivers his twist on "Bequem ft. Sailor Juul" next, bringing crunchy percussion, distorted synth sequences and airy pads into focus for a typically upfront workout from the Berlin-based artist.

DJ Lily's solo track "Safeword Tegnell" opens the flip side, fusing bubbling percussion, bumpy drums and 8-bit synth chimes throughout. Christoffer Berg returns under his The Mountain Range (Aniara Recordings) guise next to complete the package, the artist who is part of Robyn's band and was the synth programmer for Depeche Mode on the album Delta machine amongst other things delivers a truly unique take on "Safeword Tegnell", amusingly described by a friend as "Scooter meets Dopplereffekt at Tresor". Berg twists the original elements with psychedelic sound design, ever unfolding drum patterns and a mind-altering feel across its six-minute duration.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

For every celebrated name in jazz, soul and related music, there are probably another 1000 musicians who had all the talent and potential but for whom widespread recognition remained elusive. Roscoe Weathers is one such figure, a jazzman who earned his chops the hard way, a sideman in smoky clubs from Memphis to Seattle, before finally settling in LA. He recorded a significant amount of music through the 1960s, but never found the slightest modicum of commercial acclaim nor the success that comes with it.

Overlooked by all but the tiniest of record labels, Weathers' released much of his material himself. Indeed, we can lay claim to be the first outside label to release any of his music since the early 1960s. That's sixty years of being overlooked by the record industry, so we are delighted to release this first full length album of his music in a first attempt at righting that historic wrong.

A multi-instrumentalist, Weathers mainly led on the flute in his recorded output. The music here spans the course of the 1960s, and moves from laid back beatnik jazz stylings through to percussion heavy Afro-Latin influenced workouts. As usual with Jazzman, we have not only dug deep to unearth Weathers' music but also his background and biographical details, shining much deserved light on this enigmatic and largely unheralded figure for the first time.

clocolan is Emlyn Ellis Addison, a South African artist now living in Providence, Rhode Island. Exploring themes of ontology and psychedelia, his is a music of imaginary futures—of neglected hinterlands and unconquered vastness lost in the background noise of human endeavor.

Addison’s 2017 album, Nothing Left To Abandon, examined the experience of memory while his new album, It’s Not Too Early For Each Other, examines a more pressing experience: the ecosystemic collapse. clocolan dotes once more on dusty melancholy and electronic psychedelia in his new album, pressing into darker territory and more visceral textures.

It’s Not Too Early For Each Other examines the looming inevitability of a future shaped by mankind's destruction of natural ecosystems—and its seeming inability to alter that course. This music is dedicated to the pariahs: the messengers who confront the murder of the ecosystem.

Emlyn was introduced to Colin Morrison at Castles in Space by Strictly Kev AKA DJ Food. It's proving to be an incredibly fruitful collaboration and a third clocolan long player is already delivered and undergoing mastering for future release on Castles in Space.

Abstrakt Sonance makes his return to Aufect for the labels's first 12" release in a decade! Enlisting the likes of Crowell and legendary Grime MC, Killa P on the title cut "New Style", together they deliver a smackdown with a skippy Grime-Dubstep hybrid banger in a mood fitting for the status quo.

Label owners Greazus step up to flip "New Style" with a remix leaning heavy on 808's and an infectiously animated piano-esque hook.

"Lay It On" turns up the vibes and dips into R&B vocals chops and loose drums that seem to be melting into each other.

Fans of deep, heavy Dubstep will love "Squad Up". This one is meant to push soundsystems - minimal dubby chords, deep dubs, rolling drums, nuff said.

Eddie C's always on-point RED MOTORBIKE moves effortlessly into its 20's with another fine double A, dinked 7" !!

A beautiful lost folk-Disco frugger from Tel Aviv's Elado greets us on the A, while Eddie expertly re-jams a Turkish delight with some punchy 606 rhythms.

Pure class !

2x12"
Radio Matrix returns! In the strangest of times a somewhat prophetic message reached us. A message delivered by Immediate Proximity, a collaborative project by Diana Napirelly & Niels Luinenburg, known for his output as Delta Funktionen. Their message comes in the shape of an album called '2334'. It covers nine tracks that perfectly act as the soundtrack for our society during COVID-19 times. With tracks and titles like The Apocalyptic Techno Cult, Broken Ether, Clone Morph or Skynet Skanner, we find our self on the brink of a new era where machines and algorithms have taken over humanity. Metallic beats kick hard and eerie melodies are placed against rhythms that remember us of ancient tribes carrying out ritualistic dances in order to try to escape the machine world. Fortunately, behind this somewhat dark and apocalyptic mood a strong statement appears and calls for hope and experience. It gives the listener a path to look beyond the horizon. This release is limited to 150 copies. Printed on 350g incada silk paper with high UV gloss varnishing. Includes a sticker sheet.

Fabe makes his highly anticipated debut on FUSE this August as he unveils his four-track vinyl sampler from his sophomore album, ‘Four Point Island’.

A key figure within Mannheim’s blossoming scene and a core member of the city’s well-respected BE9 collective, DJ, producer and label boss Fabe has quickly forged his position as an artist of note within the house and minimal landscape. Featuring as a regular for both Cocoon and FUSE/Infuse across their worldwide events and labels, whilst also launching his own imprint Salty Nuts, the multi-faceted talent has carved out a trademark sound palette combining groove-heavy bassline with elements of classic house, forceful techno, forming a unique, high-energy style which is now instantly recognisable as his own across the scene today. Following on from the release of his
debut album ‘Water Tower’ in 2019, late-summer welcomes the release of his second long-player project as he debuts on FUSE to deliver ‘Four Point Island’ – becoming only the second artist to release an album on the label after founder Enzo Siragusa.

‘Love & Peace’ sees Steve mixing up all of his much-loved ingredients to deliver a fresh new record that offers the perfect antidote for the troubled times in which we live. Full of hope for the future, it’s a great mix of boogie, blues, rock, Americana and folk – all delivered in Seasick Steve’s unique style. It’s a sizzler of an album that he can’t wait to release.
“In these crazy times seems to me there just ain’t enough love and peace to go around,” says Steve. “I ain’t exactly sure what this here record got to do with love and peace, but I figured I’d call it that anyways!”
Produced and written by Seasick Steve, this album sees him breaking with tradition. While some of it was recorded in his barn, the majority was recorded in Los Angeles at Studio 606 and at East West Studio 3. The album was mixed by Vance Powell (Jack White, Chris Stapleton) and Steve at East West.

"Modern Dread is an album that sees Moore exploring personal demons whilst also voicing her concerns for the world at large, a daring exercise in micro versus macro that pays off richly in what is a dazzling step forward in artistry. It follows on from the critically hailed 2017 album “We Used to Bloom” and represents a delicious quantum leap in her career.
A unique blend of quixotic beats and introspective, sometimes harrowing songwriting which will undoubtedly stamp Moore as one of the most original talents we have around right now."

Affûté broadens the scope of its sound once more by adding Amandra to the roster. The young artist delivers two tracks made of his signature sound: mechanical rhythms and repetitive melodies.

French comrade AWB's remix is a distinctive and clever remodel cut of Ruban Rouge, further deepening the emotion of the track. Edit Select brings a darker, haunting touch to Tour Karin with his modus operandi akin to Amandra's: a slow, subtle and detailed progression.

Teo Drean gives Tour Karin more horsepower, coupling a heavy kick with wondrous choir sounds.

The debut release from Detroit native DJ Holographic and Detroit transplant Alex Wilcox, Parallel Shiftingstrives to changeour thoughts so that we can breakfree fromnegative psychological programming. This feel-good EP aimsto reprogram the mind to be fresh and new. You may experience dimensionalshifts in your mind and reality as you defy space and time. Side effects of this may includereduced mental chatter and a better future selfand society.

A powerful and lofty goal such as this deserves a strong beat, and A-side “Parallel Shifting” delivers this in spades. Featured in DJ Holographic’s 2020 Mixmag Lab set, Holographic and Alex found themselves inspired by Thomos and Derrick Carter when crafting the track. “Parallel Shifting” is about shifting the gears in our minds and hearts, and allowing ourselves to be open to changes in how we perceive reality.

With “My Feels,” Holographic expresses her current attitude towards the connections between all of us. “Our feelings control our surroundings and reality more than we give them credit for. When we feel abundant, abundant things happen to us. However, if you feel empty, then you bring about empty situations. As a DJ, I do my best to be mindful of the feelings I project into a room, while also being mindful of everyone in the room with me. Everyone is coming in with different experiences, but when I play I want people to feel high vibrations.”

“Because Of Detroit” taps into the rich history of Detroit, which has informed Holographic and Alex’s own musical DNA. The seeds that we are all given in life are a product of our heritage. In order to bloom properly, it's important to know your full story and what kind of seed you are in this world’s vast garden. If you know how to properly nurture your seed, then you can take care of yourself and others. Knowing their roots helps both producers to grow stronger than their ancestors.

Hitchhiker is an independent record label out of Detroit that delivers a diverse range of sounds, and strings them together into a story that reflects where the artist has been, is presently, and where the future is taking them.

Two years after he strikingly entered the world stage with Iron, a luminous track with a truly iconic video - Woodkid released The Golden Age, his first ever album, crafted and shaped in the utmost secrecy during the year 2012. While some might have just let the media hype do its work, Woodkid also known as Yoann Lemoine, chose to reverse the rules of the game. Following the release of a second single Run Boy Run, which became a classic in a matter of weeks - with the accompanying video nominated at the prestigious
Grammy Award in 2013, Woodkid decided to bring out his first album. A record with incredible ambition for this young Frenchman who America was already crazy about, picking up the momentum for his rise. The Golden Age is an epic quest, a beautiful and surprising adventure. The foundations of the Woodkid staple are of course all on display : percussions, string and brass arrangements, piano, programming and - of course - this powerful and sensitive voice that delicately runs through the melodies with great magnitude. A few months after its release The Golden Age was certified Platinum and
Woodkid went on to collect the Prize for “Best Live New Act” at the French Music Awards on February 14th 2014. As a multi-talented artist, Woodkid thought out his project with all aspects in mind. Initially working as a video director for the greatest (Lana Del Rey,
Drake and Rihanna), he then directs his own videos and starts creating the visuals and stage-design for his own live performances.
Since then, this gifted all-rounder has continued to explore multiple paths. In 2014 he works alongside contemporary artist JR on an original piece commissioned by the New York City Ballet (JR creating and Woodkid producing the music), takes the artistic reins of Pharrell Williams’ live shows and co-writes an original soundtrack with Hans Zimmer.

In 2015, Nils Frahm performs the soundtrack that Woodkid wrote for a
documentary on Ellis Island, directed by JR with commentaries from Robert De Niro.

The same year, cinematographer Jonas Cuaron (creator of gravity) asks him to write the music for his feature film “Desierto” a gruelling thriller set in the Mexican-American desert. Woodkid comes up with a radical and organic piece halfway between sound-design and film score, released in April 2016. He is to this day one of the most sought-after artists, a visionary and altruistic creator whose modern and powerful body of work continues to shape itself with every new encounter.

Following the Turner Street Sound collaboration with Rings around Saturn, Melbourne producer and DJ Midnight Tenderness presents his second offering to Butter Sessions, Digi Modes. Throughout, Midnight Tenderness maintains his fixation with dub-wise rhythms and heavenly melody, delivered with his signature silky smooth production.

Digi Modes begins with the complementary pairing of tracks Crosswinds and Dub Dreams which feature on the limited yellow 7". Crosswinds is a bright medley of garage breaks against hazy synth-work that gently inhales and exhales. Dub Dreams, as its title affirms, is a mirage of sweeping synth loops and chattering rhythms. Elastic Dub is a more traditional homage to early dub works of the 1980s, marked by persistent echoes and rumbling bass that divides and conquers. Reflexitones, and the EP's endnote Regent St Dub, both add a sprinkle of house and electro, primed for a discerning dance floor or perhaps for now, a dance at home. As a whole, Didi Modes is an affirmation of Midnight Tenderness' mastery to adopt and adapt acquainted sounds in a unique way.

The 25th release on our main RAWAX label comes from one of the veterans of our artist Family. Brother G who is on board form the beginning delivers here a fantastic piece of music!
Worth to check!

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

Middle Name Dance Tracks Vol 1 is the second release from Sampology’s new imprint. The Middle Name Dance Tracks project reflects standout live & club nights in Brisbane of recent years, where there has seen a steady cross pollination between the club and soul/jazz communities. The blurred line between these two musical worlds has delivered an array of diverse and joyful events for both artists and avid music fans.

This project is a collaborative creative effort between Sampology, Megan Christensen and Sam Stosuur. The recording process was live in nature with Megan on piano and keys, Sam Stosuur on bass/bass synth and Sampology on MPC drums and programming. Having live conga & timbale from Brisbane based Latin percussion staple Gus Cereiji glues the groove together. These sonic choices were inspired by listening to NYC early 80s disco labels, especially Prelude 12" releases, which balanced drum machine & synths as well as live studio musicians. Vocals on 'Only Joy' were recorded by Kerry Raywood. Vocals for 'Bless' come from Brisbane jazz vocalist Merinda Dias-Jayasinha. The combination of the Middle Name Dance Tracks trio and the additional Brisbane artists offers a specific music palette that’s live in essence, dancefloor in orientation, and magical in delivery.

Middle Name Records Dance Tracks Vol 1. artwork was created by artist Sue Poggioli, Sampology’s mother who also created the artwork for the 2016 Natural Selections EP.

Horse Meat Disco unveil the latest preview of their forthcoming album ‘Love & Dancing’ with ‘Message To The People’, featuring one of the main co-artists on the LP, Amy Douglas, alongside soul trio Dames Brown. A record that started as an adaptation of the Shirley Caesar original, recorded in the studio with the Dames; Horse Meat Disco and Luke Solomon then headed to Amy’s native Brooklyn, where she wrote her verses sat at the piano for this sublime disco jam. This 12” delivery features remixes from some of the genre’s most revered artists, each turning their hand at this labour of love. Up first, unrefuted master of the edit Danny Krivit delivers a blissful, club-friendly extended version, making full use of the longer playtime with an elegant, journey-like mix. The Key-A-Pella follows, an essential DJ tool that allows Amy and Dames Brown’s vocals to really shine. The funk-fuelled Michelle Mix kicks off the B-Side, an empowering, uplifting narration provided by a sample taken from none other than former First Lady Michelle Obama, inspired by Chicago legend Kelly G.’s creative sampling on his Deeper Message Groove mix, the track that closes out the release. Kelly’s mix is a soulful, grooving affair with dreamy keys you can’t help but move to.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

2020 Re-issue of Keith Kenniff's debut under his Goldmund moniker. Originally only released on CD in 2005 via John Twells' Type Recordings, this album of rare and unusual minimalist beauty is now presented as a vinyl edition for the first time.

Multi-instrumentalist Keith Kenniff is a busy man. He has appeared as Helios on a number of acclaimed releases, including Deaf Center’s ‘Neon City EP’, and released a debut album ‘Unomia’ on Merck records which has appeared on many best of 2004 lists. All this while studying at the prestigious Berklee College of Music, and playing drums, guitar or contributing production to a host of amazing musicians. Kenniff lives and breathes music, something that is very obvious when hearing tracks under any of his pseudonyms.

As Goldmund, Kenniff has disregarded the electronic elements of his music almost entirely in favour of just a piano, a microphone and occasionally a guitar. ‘Corduroy Road’ is thirteen tracks of pure recording, the sound of the piano being opened and the feet on the pedals, the sound of fingers pressing lovingly onto the keys. This is a record of rare and unusual beauty, so shocking and yet unpretentious in its simplicity. When the guitar does emerge from beside the delicately touched piano, it serves as a balancing point for the record. Weaving in and out of the melodies, it adds another layer to what is already incredibly moving music.

‘Corduroy Road’ is rooted in Kenniff’s love of folk music from the American Civil War. We can hear this directly from his rendition of Civil War era classic ‘Marching Through Georgia’, but the influence carries throughout the record. There is an unheard voice which propels each track through history, maybe the ghosts of dying soldiers whispering in a long forgotten bar. Every haunting note drifts deep into the psyche and is lost in the ether of nostalgia. In this way it is a concept recording of sorts, it certainly has a narrative and has to be listened to in sequence. The story has clear themes; loss, history, friendship, camaraderie, forgiveness and hope, all clearly marked out by musical segments. It is no surprise that Kenniff’s passion for cinema shines through so strongly.

It would be hard to draw comparisons to music so rooted in folk traditions, but the music evokes traces of Ryuichi Sakamoto, Mark Hollis, Keith Jarret or even Eno’s more piano based compositions. Yet influence seems unimportant when listening to this deeply personal work. Just let it sink in and drift into the psyche.

Following the last Ma.to's EP we joined forces with two artists taking care of music and artwork on the 4th release. The first one delivered by the infamous Italian legend Miki 'aka' Major Hypnotic Key Institute. His resume and collaboration's list are known and long enough to establish him as a pioneer and precursor of electronic and rave music since the 80s. 4 tracks ranging from slower hypnotic rhythms to speed-up marched techno/trance.

And for the occasion on the artwork we collaborated with friend and genius Conxi at Ivvoki Studio, the result speaks beautifully for itself. Proudly presenting this 4 track Ep with included a repress of an old work from Miki on Interactive Test and a Re-Edit of miki and 2Volt of an early work from the Italian synthpop electronic band A.T.R.O.X.

Well balanced music, techno / trance / minimal spreading pure 90s vibes from both sides but sounding so contemporary.

A Must! have.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Wrapping up the single release series from Carlton Jumel Smith's album "1634 Lexington Ave.", comes the deep beat ballad "Help Me (Save Me From Myself)". Progressing from moody minor keys towards the bittersweet hopefulness of the chorus, the track sounds like fell from Menahan Street Band's debut sessions with Charles Bradley and flew across the pond to soggy Helsinki, where Cold Diamond & Mink nurtured it to it's current glory.

The track starts up in classic hip hop soul style, with open drums and cinematic Rocky horns. But after the intro, when the ghost-like piano notes hit, is when the song really gets going. Carlton delivers one of his best dark-end-of-the-street vocals, matching his Timmion debut "I Can't Love You Any More". Tuomo "Pratt" Prättälä's haunting background vocals seal the deal, lifting the chorus to seventh group soul heaven.

Whether you're completing your Carlton single series with this gem or just getting your first whiff of this contemporary soul master, we salute you.

The popular song by indie disco producer LUXXURY and fellow LA duo Scavenger Hunt (recently released by Future Disco as the lead single from the London tastemaker's recent Poolside Sounds compilation) finally gets a limited vinyl 12" with several roof party friendly mixes. Includes LUXXURY's own rework of the song, along with an instrumental that emphasizes the sunny live bass, percussion and Sade-esque guitar parts; plus a deliciously chill remix from impakt spotlighting the vocals that give this sultry duet so much swagger.

Here comes another uplifting soul banger from Carlton Jumel Smith's acclaimed album "1634 Lexington Ave". Getting the 7" single + instrumental treatment this time is "Remember Me", one of the standout tracks in Carlton's catalogue. He and his accompanying Cold Diamond & Mink band speak all the dialects of vintage soul music fluently and now their focus is in hard-hitting and funky crossover soul of the early 1970's.

"Remember Me" is a group soul dance floor track with an emotional message, carried by a fierce tighten-up guitar, tight horn riffs arranged by Jukka Eskola. The sweet background vocals are delivered by Tuomo "Pratt" Prättälä, who wraps his voice around Carlton's lyrics with ease.

Get your dose of feel-good sounds and drop this on your platter in any type of get together, and watch the positivity levels rise.

Chilean prog band Embrujo began as El Embrujo Ques Besa or Kissing Spell, formed by the guitarist, singer and drummer Carlos Fernandez with chief songwriter Juan Carlos “Tato” Gomez on bass and vocals and Ernesto “Kiko” Murillo on lead guitar, with organist/ flautist Ernesto Aracena and pianist/flautist Guillermo Olivares joining later. Signing to Camilo Fernandez’s Arena Producciones in 1970, debut LP 'Los Pajaros' was issued under the Kissing Spell moniker, but Chile’s unstable political climate, subject to CIA meddling, saw them renamed Embrujo for their coveted second album, the self-titled disc mixing subtle Latin elements within their beautifully-delivered songs of quietly contemplative psychedelic rock.

A must-have for all South American psych fans out there, limited to 500 copies only.

Shine Grooves is a multifaceted artist, and this second record for Kimochi Sound explores two sides of that personality. The delicate, introspective, expressive precision of After All, DPS v55, and Secret move from sublime resignation to summery exuberance to a kind of earnest meditation. On the other side, collaborations with X343 yield a more extroverted approach: spontaneous mutations turn rolling grooves into unpredictable improvisational explorations.

Sadly, soul diva Betty Wright left us recently, on May 10th of this year, only 66 years old.

We pay a tribute to Betty with this unique 12” release, featuring 2 of her greatest hits.

“Tonight is the night” (yes, the famous full 8 minutes live version!) appears on the “A” side of this 12”, while on the AA-side it features the 7 minutes long and easy mixable “Disco Purrfection Remix” of “Where Is The Love” by Canadian DJ DiscoCat, now however edited to perfection by Ben Liebrand at a steady 128 BPM.

”Tonight Is The Night” is taken from the (previously top10 Billboard-) album “Betty Wright Live”, which vinyl-edition will shortly be re-released with bonus tracks on the High Fashion Music label.