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Producer, DJ, and Vancouver Saint-Of-Techno Jodie Overland conjures a storm on her Garmo debut. Inspired by the namesake oceanic phenomenon, King Tide is a relentless, visceral smattering of hi-tech bass crossovers designed for maximum impact.

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

La Escuela Moderna launches with a retrospective revisiting the UK electro and breaks scene at the turn of the millennium. A double album featuring eight tracks, Tactical Shifts covers the years 1995 - 2003, presenting a vibrant era celebrating the creativity and innovation that characterised this pivotal era in British electronic music.

The compilation opens with the starry-eyed Ayemooth, an early transmission from The Wee Paton (The Wee Djs, Distorto). Followed up by The Illistines channelling the free spirited Castlemorton. Re-Incarnated sees the trio on a percussive funk roll. Opening the B-side, System UCS (Neil Keating and Harold Slater) provide a growling electro track with Memory Trace, first released on Break/Flow. The first record closes with a rugged breakbeat number by Milo Smee AKA Kruton.

Rag and Bone co-founder NoYeahNo opens the B-side with the rollicking Pushing Percussion, an early entry in the seminal label. Nick Philphin and John O'Donnell's Orphic project brings the relentless beat science of Obvious Intruder. Lunar builds momentum with the bleepy breaks of Orbiting Ganymede and Phil Holmberg AKA Schematix wraps up the comp with the sinuous pads of Magnum Six.

Jackie Mittoo is one of the defining figureheads of reggae music!
From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the sixties,
writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul
Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based
upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.

Three timeless tracks from the esteemed D.C. LaRue back catalogue get brand new remixes from three equally exciting producers to give a modern spin to these ‘70s classics.

LaRue joined the music industry by recording two top 40 pop records influenced by the teen-idol era. In his early adulthood, he began writing songs about the fast-growing club and bar subculture he frequented where the most outcast of society’s young and marginalized could safely congregate after being ostracized in work, church, school, and often family. In this relatively brief selection of LaRue classics, contemporary remixes paradoxically bring out the timelessness of his songs, in tone, message and musicality.

First up, ‘Do You Want the Real Thing’ gets a fresh update from re-edit royalty Opolopo in the style of the lush yet sharp Motown and Philadelphia production pieces that inspired the arrangement originally, still resonates as a nightly inner dialogue or negotiation, another of LaRue’s literary signatures.

‘Let Them Dance’ greeted in its time as a one of the breakthrough moments of new music technology, is reinterpreted by Dr Packer mainly with its live acoustic tracks, also retaining bright, rhythmic synthesizer hooks with results that are still true to his intentionally oblique lyric, a novelistic portrayal of the drug dealers, the LGBTQ+ underground community, and the powerful upper class elite that made up the multi-racial, socially integrated crowds on the dance floors at the height of disco.

Last up, ‘Indiscreet’ from LaRue’s 1976 concept album, ‘The Tea Dance,’ tells much of the story about how disco had already birthed its own far more popular and influential successor form, Hip-Hop, by the time it was declared dead by the superannuated establishments of the radio, media, and record businesses. Released in a highly limited, personally inscribed 12-inch 45 rpm edition for a select list of top disco DJs, its complex, elastic polyrhythm made it as irresistible to younger black DJs and breakdancing teens as any of the year’s other big street breakouts. Only Good Vibes Music head honchos and Scotland’s finest The Knutsens give it the magic touch for the modern dancefloor.

Cosmic afterburners dialled up to the max, Pamela Records voyage out to the ends of existence with their latest four track trip from Jo Sims. Taking the lead leap of faith is esteemed producer, remixer and DJ David Holmes, who provides a signature cinematic remix of the title track ‘Bass – The Final Frontier’. Like the climax of a sci fi space odyssey, Holmes molds the track into a synthtastic epic with otherworldly vocal refrains ringing around your brain and body. The original mix is up next, a new beat flexing stomper that will have any crowd begging for more.

Flip it for darker, twisted chugathon in the form of ‘Demons Of Dance’ before the trip hop tinged, downtempo delight with a distinctly space age touch ‘Mumbo Jumbo’, takes the final slot.

DJ Feedback:

AXEL BOMAN
Ouff amazing 12" !!!!!!! love love love it

JD TWITCH/ OPTIMO
Excellent stuff!

RON BASEJAM
Ruddy hell, Holmes with the spirit of weathers. love the hi-fi mixdown too, the music providing the power. epic.

JACQUES RENAULT / LETS PLAY HOUSE
Wow, demons of dance and the final frontier...killer 4 tracker

HOT TODDY/ CRAZY P
The David Holmes mix is superb!

EDDIE C/ RED MOTORBIKE
I love this!! The David Holmes Remix is outstanding!

JUSTIN ROBERTSON
Loving this very much

MAKE A DANCE
Huge yes from me. Loved the first release on this label so nice to see it back with more fire

PBR STREETGANG
Really feeling this e.p. every track is strong, and the DH remix is stunning. Can’t wait to play them out.

JKRIV / RAZOR-N-TAPE
I really like the machine boogie vibe of the original Bass and that remix really takes its time and builds to a beautiful peak. All winners here

SUB CLUB HARRI
Lovely stuff

LEO MAS/ AMNESIA
The Final Frontier (David Holmes Rmx) is great, love it

JAYE WARD
YES!!! Glad there’s another Pamela! David Holmes mix is deep and lustrous.. REALLY love the OG’s tougher more dance orientated version.. love the other two tracks too especially mumbo jumbo.. brilliant release!!!

“Session Victim debut on Rhythm Section Intl with an EP of understated but highly effective jazzy house rollers“

Having cemented themselves as firm favourites on the Rhythm Section dance-floor over the years, the German duo step forward to present their debut EP on the South London label: “ Basic Instinct”.

Known for their unparalleled energy when performing live or DJing, Hauke and Matthias fly the flag for sample based, soulful house music and a commitment to the art of vinyl DJing. With the never- ending search for the perfect beat at the core of what they do, it was no surprise they found a deep affinity with Rhythm Section INTL over years of playing for each other, jamming in the studio and crossing paths at festivals and airports around the world. In short, this record was an inevitable culmination of two passionate, like minded groups, a match made in Heaven and a long time coming!

Despite hailing from the techno meccas of Berlin and Hamburg, Session Victim are direct descendants of the German Jazzy House masters, tracing inspiration from the likes of Jazzanova, Soulphiction & Compost Records - the likes of which have gone on to inspire a renaissance of this more soulful sound in German clubs, spearheaded by labels like Tartelet and Toy Tonics - the latter of which the duo recently released an EP with.

This latest effort on Rhythm Section INTL is a masterclass in restraint, demonstrating a deep understanding of dancefloor dynamics, putting the maxim ‘less is more’ to great effect. The
opening track, ‘Trying To Make it Home’ is the most immediately engaging cut: a double bass riff drives along a Kerri Chandler-esque filtered piano pattern which gives way to a soaring Gospel

Vocal , allowing the groove to take control as flutes, strings and occasional guitar licks meander in and out of the mix to create a real ‘heads down, arms up’ moment for the dancefloor.

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.

Singular Texan musician Craig Clouse hurtles unstoppably towards the 20th birthday of his dancefloor-splintering electronic project Shit And Shine, releasing a landmark LP, his first full-length for The state51 Conspiracy, ‘2222 And AIRPORT’. Acid house, minimal techno, electro, funk, krautrock, hip hop, found sound, spoken word, live percussion and industrial are blown apart stupendously and then reassembled – mad-scientist style, in a way peculiar to Clouse – into 13 hypnotic and transportative tracks.

Lead single SWISS, out 24 March, is a gloriously minimalist funk jam that sounds like the exact point at which someone turns the lights off at a lowkey house party and a wild night for the ages gets under way. An almost scornfully skeletal riff, sounding like a misfiring Cyberdine Systems Model 101 summoning up a Prince circa Sign “O” The Times riff while crashing head first into the hyper-processed early work of Prefuse 73, also featuring a cheeky sample of revered Mancunian DJ Luke Una talking about “existential fucking darkness”.

This is followed on 4 April by INFINITE SHITE, arguably the epic central track to the album, is a Shit And Shine banger for the ages, its dancefloor affect, undeniable. An unforgiving, pulsating Byetone-style bass drone worthy itself of being blasted on a Funktion-One rig, is just the background for a colossal acid b-line, destroying all in its path.

Micro details bristle at the liminal level, threatening to only reveal themselves to those in a club, those listening on headphones or those experiencing a heightened sensory state.

It is with honour & pleasure that we present to you the return of one of the finest in game! Active since god-knows-when, and equally known as artist, label owner, event promoter and all-round champion of all that’s right and proper, Semtek has cast a long shadow in the electronic underground over the past two decades.

Ever the mercurial savant, Benji distils a wide range of influences that have shaped his various endeavours on his first 12” for us: from the darkside revivalism of DJ Persuasion through to the raw productions of L.M.Y.E, and even down to his earliest productions on DBA. RAD-SEM1 is two tracks of ice-cold club cuts that capture the chilly futurism of second wave Detroit Techno, the sparser fringes of UKG and the abyssal soundscapes of late 90s DnB. But as is characteristic of Semtek’s output, always far greater than the sum of its parts.

3 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY. All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.
ESSENTIAL ITEM - LIMITED EDITION - NO REPRESS

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Amsterdam based musician/producer Djosa (long time band member of Arp Frique & The Family) joins the Rush Hour Store Jams imprint with two uplifting songs. The legendary Ronald Snijders is featured on ''Vampiro" with whom he (together with Arp Frique) made the documentary Easy Man and the album The Nelson & Djosa Sessions. TIP!

Please note: Due to an unfortunate production mistake, the tracklisting on the labels and sleeve are in the wrong order. The correct order is: A. Botanica Obscura and B: Vampiro (feat. Ronald Snijders).

Coming straight outta Salerno's vibrant music scene, "Amo' / Voce 'e Notte" is the first 7" single from female rap duo Zetas. Released by DJ's Choice, a partner label of Four Flies Records, it contains two songs produced bybeatmaker, rapper and producer Tonico 70, a true veteran of Southern Italian hip hop.

Both young millennials, rappers Annarella and Miriade were exposed to the world of underground hip-hop from an early age, jamming, freestyling and listening to different music than their peers. Active as a duo since 2019, they're now making their official debut with this 7", which will be followed byan album at the end of September.

The A-side track "Amo'", which is about the overuse and loss of meaning of the word 'love' (amo' translates as 'luv'), makes their intentions clear. Zetas rap in the exuberant dialect and slang of their native city of Salerno, while their sound looks back to the '90s through a contemporary lens. Raw rhymes are delivered with an urgent flow over a beat that, rather than boom-bap nostalgia, is a modern take on classic production styles. The result is a happy medium between old school and fresh – one where the melody of dialect rap and rhymes blends wonderfully with the rhythms of funk, soul and reggae.

"Voce 'e notte", on side B, has a different mood, but the same approach. Here, Zetas weave wistful verses tinged with disillusionment and toughness on top of Tonico 70's 808-led beat, paying tribute to a classic Neapolitan song also titled "Voce 'e Notte". The result is a rap serenade that transforms and reimagines the Neapolitan song tradition through today's sensibility and, of course, through hip hop.

Viscardi & Il Duo Magnetico is the new collaborative project between italo-swiss DJ, producer and singer Pascal Viscardi,
Yavor Lilov and Alain Sandri, respectively drummer and percussionist of the swiss cult band L’Éclair.

The three musicians joined forces in Geneva and worked in the studio for the past two years with Viscardi as the main
vocalist, Lilov producing the tracks and playing drums, bass and keys, and Sandri on guitar, percussion, and backing vocals.
The result is a unique and contemporary version of italian pop, peppered with new-wave, boogie, disco and world music
references.

On Sale Sole Pascal's mellifluous lyrics float on a midtempo boogie groove, projecting visions of sun drenched cities and
summer sunsets. On the flip side Jamba Club is a reggae infused slow burner, reminiscent of night encounters and forgotten
love stories.

Sale Sole / Jamba Club marks the project’s debut release and serves as a sneak peek into the upcoming full-length album,
set to release on Cosmic Romance in fall 2023.

There are still some pearls of dance music from the late 80's to early 90's that have remained in obscurity and have gone unnoticed or at least there has been no special attention, so Jose Manuel has dug deep as he already did in the first chapter of the compilation " Milagros del Ritmo ".

Among the annals of releases between '89 and '93 Jose has found pearls that he wanted to encapsulate in the second chapter of " Milagros Del Ritmo II ".

Nine tracks among which we find : Come To Me (Ven Aqui) by La Luna produced by Erik Kupper, where percussion and Latin influences dominate over a house beat, then there is Teknology by Dj Raffa, a well known Brazilian Dj, followed by Lorena with Tu Eres Igual Que Los Demás (De Luxe Dub), where the beat vaguely recalls Los Niños Del Parque by Liaisons Dangereuses.
This second volume of "Milagros Del Rirmo II " cannot be missed by DJs who love and play the retro sound.

Batov Records “Middle Eastern Grooves’ 7” series have become staples in the sets of DJs looking to broaden their sets to incorporate psychedelic and Middle Eastern sounds alongside the familiar funk, jazz, and soul catalogue. In the process, the series has enjoyed support across BBC 6 Radio Music, from Gilles Peterson to Gideon Coe, and made waves around the world, from Radio Nova and FIP in France, across the Atlantic to KEXP and Music Is My Sanctuary,
and laid the seeds for debut albums from series staples, Sababa 5 and Şatellites.

The compilation opens with the desert funk sound of "Badawee" by the iconic producer and multi-instrumentalist, Kutiman, followed by the instrumental edit of "Ya Raiyat" by Tel Aviv digging pioneers Radio Trip. Other highlights include the deranged & spooky synths of “The Egyptian” by Baharat, a prime example of the label's core sound, the
psychedelic Middle Eastern groove bomb "Deli Deli" by Şatellites, and “Nasnusa”, Sababa 5’s acclaimed collaboration with Japanese vocalist Yurika Hanashima.

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released
under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and neverbefore-heard gems from some of the most talented emerging artists.

The compilation also includes some exclusive tracks, released here for the first time. Following their recent collaborative EP, Sababa 5 back the newly discovered vocalist Shiran Tzfira with a simple but
effective combo of synths and percussion on the haunting “Manginat Mahepeha”.

Şatellites band leader Itamar Kluger contributes “Saved From The Jazz” from his new psychedelic funk project Eje Eje - watch out for the drums on this!

And finally, underground belly dancing princess turned Mediterranean psych chanteuse, Cherry Bandora, contributes the hypnotic “Esý”.
This first volume of highlights from the Middle Eastern Grooves 7" series offers a comprehensive look at the evolution of the label's sound and its place in the wider musical context. From surf rock
to Mediterranean psych, this collection showcases the diverse and captivating sounds of the Middle East and its influence on modern music. The compilation will be available on double gatefold vinyl and for digital download and streaming from 19th May, 2023.

When he isn’t managing Batov Records, DJ Kobayashi can be found digging for grooves and melodies that stand out from the norm, and sharing them at the likes of Brilliant Corners, Spiritland, and his biweekly show on Soho Radio. His vast collection spans funk and beats from across the globe, and reflects, of course, a particular
predilection for Middle Eastern grooves. His refined tastes have created a great demand for his selections, leading to him playing alongside the likes of Islandman, Balkan Beat Box, The Apples, and Baba Zula.

Berlin-based artist Werner Soyeaux under his stage name Black Davil is a core part of the Berlin collective Ick Mach Welle. Schnall Schnall is his debut solo artist EP on Killekill, with own productions accompanied by collaborations with Bettina and DJ Normal 4, alongside remixes by Rhyw and Gesloten Cirkel.

The EP opens with the dark intro Alptraum, which Gesloten Cirkel transforms into an ill-tempered acid-electro monster. The title track Schnall Schnall provides a stark contrast to these, with bright overtones existing alongside deeply rooted sonic bedrock.

Rhyw adds a level of abstraction and futurism with his remix of this track, whilst retaining the dub-influenced vibe of the original.

Following on from this Geldschere is collaboration with Dusseldorf artist DJ Normal 4, with Black Davil contributing his own lyrics and voice, to create a track that could be fittingly described as "Acid Punk Rock"!

The final track on the release is a cheeky ode to the Ick Mach Welle family. Here the Davil's passion for Hardtekk, Gabber and similar rough styles of music become clear.

Repress coming!

High Focus Records is proud to present 'Put That Soul On Me' a brand new 3 track offering from arguably one of the best voices to emerge from these shores in recent years : Rag N Bone Man.
Since having been introduced to the world via High Focus Records in early 2013, Rag N Bone Man's career has flourished in an incredible way and it has become a widely known fact that, as cliche as it may sound, he is the next big thing. From gathering attention from the likes of tastemakers Zane Lowe, Rob Da Bank, Mistajam & getting daytime radio play on BBC Radio 1 among others to working with Hip Hop legend DJ Premier and touring all over the country with chart toppers Bastille, it is a proven fact that Rag N Bone Man's voice has the power to touch the hearts of millions no matter what genre of music you are into. With such a universally recognised talent, its going to be hard for nay sayers to deny the infectious flute grooves of 'Put That Soul On Me' or the slow pounding bass of 'Across The Sky'.
Dirty Dike, normally known for his outlandish lyrics and larger than life provocative character takes the back seat on this release, allowing his signature crunchy production to do the talking. Dirty Dike's instrumentals provide the perfect back drop for the smooth rumblings of Rag N Bone Man, the pair complement each other perfectly as the beat and the voice are just as heavy as one another, both putting on a fantastic display of skill and raw talent which has been synonymous with all High Focus Releases.
The title track, 'Put That Soul On Me' is a catchy celebration song, a festive underground tune praising 'that neat sweet soul' whilst denigrating those 'wack ass drums and played out synths' over swirling flutes. Following the festivities we have 'Across The Sky', a bass heavy downtempo number which explores the side effects of different drugs, upon which our protagonist asks for a helping hand before the heart wrenching saxophone kicks in. High Focus Records fans will be pleased to see that the infamous Rag N Bone Man 'exclusive Bars' from the HFTV channel is finally seeing an official release. 'My Business', which set the internet on fire upon its release on the channel, getting retweeted by the likes of super producers DJ Premier and 9th Wonder, is the third track on this project and features a guest verse from Contact Play legend Ronnie Bosh. With these three unmissable tracks on one piece of wax, The 'Put That Soul On Me' 12'' is going to be the soundtrack to your summer.

Amy Dabbs and Athlete Whippet deliver a perfectly crafted journey through house music with 'Into You' on Aus Music.
The duo's different yet wholly complementary musical backgrounds - Amy Dabbs bringing her extensive experience as a DJ & electronic music producer, and Athlete Whippet with his background as an instrumentalist & live band musician - have created a winning combination on Into You EP. The product of which is an intricately composed, highly musical suite of tracks produced to perfection for the dancefloor.
Having met for the first time at Cinthie's Elevate store in early 2021 for her DJ Kicks launch party, the compilation featuring one of Dabbs' earlier tracks, Amy Dabbs & Athlete Whippet stayed in touch, which culminated in the decision to start working together in the studio in their shared hometown of Berlin.
Amy Dabbs has released a string of lauded 12"s since her 2020 debut, including her latest highly acclaimed EP on Shall Not Fade, in addition to collaborating with Coco Bryce, launching her own imprint Dabbs Traxx last year, and featuring regularly on BBC Radio1 Dance.
Athlete Whippet, headed up by Robin Braum, have delivered a myriad of esteemed releases across Toy Tonics, Rhythm Section and Tartelet, which have earned heavy support from Pete Tong, Jamz Supernova and Tom Ravenscroft, to name a few.
Teaming up for the first time here, Amy Dabbs & Robin Braum deliver a fiery three-tracker for Will Saul's Aus Music, covering a variety of moods across the versatile EP. Kicking off the A-side is 'Deep In Your Love', with swirling pads and emotive strings tangling around a tear-jerking vocal refrain, which make for a highly moving opener. A2, 'Into You' continues the emotional journey with lively percussion, subby basslines, and sensuous vocal samples overlaid with luscious analogue chords played out on the Juno 106. On the flip, 'Milkshake' closes out proceedings with a glorious blend of anthemic hands-in-the-air piano riffs and deep acid grooves. This track is a surefire summer hit, set to ignite airwaves and the dancefloor in equal measure.

Ghanas Linda Ayupuka spielt zeremonielle Fra Fra-Musik über schnelle Feuertempi und hypnotische Drumloops, die auf eine internationale Palette elektronischer Tanzstile verweisen, vom DJ-geführten Balani Show-Straßensound Malis über Electro-Acholi bis zu modernem Dancehall/R&B. Auf 'God Created Everything' fängt sie die Unmittelbarkeit früher Aufnahmen von Größen wie Oumou Sangaré und Rokia Traoré ein, um sich als neues westafrikanisches Gesangstalent zu präsentieren. Ihr Produzent Francis Ayamga (Top Link Studios), Live-Drummer von Ghanas King Ayisoba und Produzent der meisten Tracks auf dessen jüngstem Album für Glitterbeat, hebt Lindas Gesang mit seiner spielerischen Produktion von Laptop-DJ-Samples und abstürzenden Drum-Pads in den Himmel.

"(Linda) exists somewhere between the Malian singer Oumou Sangare´ and the lo-fi-to-the-future beats heard on the Nyege Nyege Tapes label." - NPR - All Songs Considered - Best Of 2022

"Combining traditional instrumentation and call-and-response vocals with sparkling synths, rapid-fire beats, and drum machine polyrhythms. Ayupuka achieves an electrifying syncretism on this album, giving Fra Fra gospel its rightful place on the global dance music stage." - BANDCAMP, Best Of 2022

"An uptempo blend of choral chants and sparkling, 80s electro synths." - THE GUARDIAN, Albums Of The Month

"Linda Ayupuka fait du gospel façon disco au Ghana et chante son amour de Dieu sur des synthés entêtants." - LE MONDE

"A mashup of gospel, disco and savannah sounds, produced with all the D.I.Y vim of Balani Show, Nyege Nyege Tapes and the Awesome Tapes roster." - PAN AFRICAN MUSIC - Best Of 2022

"Super interesting!" - GILLES PETERSON, BBC 6MUSIC

A wild and funky collection of Afro grooves that was ahead of its time in 1977 and has become a collector’s item in recent years, especially due to the growing international interest in Colombian picó sound system culture. Fruko and his studio bands Wganda Kenya and Kammpala Grupo treat us to a diverse set of African and Caribbean styles, laced with crazy synths, psychedelic guitar and infectious pan-African polyrhythms. By the time Discos Fuentes released the album “Wganda Kenya Kammpala Grupo” in 1977, Wganda Kenya’s discography was expanding with many 45 singles and appearances in various artists collections. The group’s 1975 debut record “África 5.000” was a full length LP in the U.S. and a various artists compilation in Colombia, which was followed by the self-titled long player the following year. However, Kammpala Grupo, which shared the album’s title and was credited to three songs on the record, had never appeared before, yet was basically the same studio group as Wganda Kenya. Most likely the creation of this short-lived studio band was just a ploy by the label to make it seem like there were more groups playing the type of exotic afro tracks favored by the picotero DJs of Colombia’s Caribbean coast (especially in Barranquilla and Cartagena). 1974 Discos Fuentes’ management had sent musician, band leader and producer Julio Ernesto “Fruko” Estrada to the coast on an A&R mission to discover what people were dancing to in the verbenas (communal open air neighborhood parties) run by the owners of picó sound systems (decorated mobile DJ rigs). Always game for an adventure, Fruko was tasked with bringing some popular examples of these esoteric, hard-to-find African, French and Dutch Antillean records back to Medellín to serve as inspiration (or to outright copy) so that the label could enter into the growing regional market and spread its popularity to the interior of Colombia and other Latin American countries via its own studio creation, Wganda Kenya. Fuentes was always returning to exploit the rich African-rooted culture of the coast as it had with the cumbia and other regional genres before, so in a way it was not surprising that they were attuned to this particular niche phenomenon from a marginalized sector of the population. The most popular genres with the champeta dancers in the 70’s and 80’s were styles like Congolese rumba, highlife, afrobeat, juju, mbaqanga and soukous as well as the music of Haiti, Guadeloupe, Martinique, Curaçao and Dominica, all of which were fiercely guarded by the DJs who had managed to acquire them often through extreme means of travel, barter and intense digging. The record kicks off with the joyful ‘El Gallo Africano’ which features exquisite interplay between Sepúlveda’s highlife style guitar and an authentic-sounding African style saxophone, perhaps played by Carlos Piña. In reality it was ‘Go Call Police Chief’ by prolific Nigerian highlife guitarist Chief Oliver Sunday Akanite, aka Oliver De Coque. Next up is Kammpala Grupo’s ‘La Yuca Rayá’ (‘Grated Yuca’), written by Isaac Villanueva in a style he termed son haitiano which sounds much more like Zimbabwe Shona mbira music. Wganda Kenya’s ‘Caimito’ (star apple, a type of tropical fruit), on the other hand, is actually a cover of a relatively well-known Haitian merengue song. Kammpala Grupo then takes us from the French Antilles to the multi-cultural discotheques of Paris, where a cover version of Black Soul’s Afro-boogie anthem ‘Black Soul Music’ is retooled and renamed ‘King Kong’, perhaps in a nod to the 1976 remake of the monster flick of the same name. Side two introduces us to the infectious merengue rebita of Angola via ‘La riphyta’ with “Paparí”, aka Mariano Sepúlveda, doing the vocals and faithfully replicating the Angolan guitar style. ‘La Trompeta Loca’ (‘The Crazy Trumpet’), probably the nuttiest track on the album, is an ingenious cover of ‘Ye Gbawa Oo Baba (Tribute To Nigeria)’ by Joe Mensah of Ghana. As with all their covers of African tunes, this rendition tightens up the original with some pop sheen, more consistent drumming and higher production values, remaking it into a powerful slow-burning dance floor filler. This is followed by one of the most powerfully original songs to come out of the entire Wganda Kenya project, Mike Char’s reggae anthem ‘El Nativo’ with Joe Arroyo on vocals. The record ends on a more authentically Caribbean sounding note with the instrumental ‘El testamento’, a cheerful islands banger with bright brass, syncopated calypso beats and chunky cuatro guitar (or ukulele). The original was in the mento genre and titled ‘Sweet meat’, written and recorded by Jamaican trumpeter Bobby Ellis. First time reissue. 180g vinyl.

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

“Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

Two of the Bronx’s most skillful emcees have paired up for one of the most promising collaborative albums of 2023. Appropriately titled, Gunz X Bars, the boogie down’s own Cory Gunz and David Bars have joined forces with Respect the Vision (RTV) under the watch of DITC Studios, the label and recording studio akin to one of hip-hop’s most revered crews, comprised of Lord Finesse, Diamond D, Big L, O.C. Fat Joe, Buckwild, Showbiz and A.G. And as you’d expect, the result is top tier lyricism over a soundscape that epitomizes the essence of New York hip-hop. For the past two plus decades, Cory Gunz has made his bones by proving his lyrical prowess time and time again. Son of rapper Peter Gunz (of the famed duo, Lord Tariq and Peter Gunz), it didn’t take long for his talents to be recognized by Lil Wayne, where he appears on his single, “6 Foot 7 Foot” off Tha Carter IV. Gunz also starred in his own befittingly-titled reality show, Son of a Gun (MTV) which documented his journey to fulfill his career in music. David Bars’ trajectory also started at a young age, where he made his name at high school talent shows and industry showcases throughout the city. Releasing his debut project Barcode in 2019, the quick-witted spitter found himself rapping alongside the legendary Fat Joe who appears on the single, “A Star is Born.” However the co-signs weren’t limited by Joey Crack, as the inimitable DJ Premier lent his boom-bap magic to the album cuts, “Beat the Odds” and “Just Like That.” Throughout the project’s eight tracks, Gunz and Bars prove themselves to be both lyrically and sonically compatible. Gunz’ staccato-type flow melds seamlessly with Bars’ smooth delivery. To boot, the production value throughout plays to the strengths of both emcees, with beats provided by So Special, Track Pros, Kofi Cooks and more. It’s no surprise that two of the BX’s most raw and uncut talents would eventually unite, and what better way to join forces than under the auspice of DITC Studios.

The apartheid boycott In the 80s, the world – rightly - stepped up its boycott against South Africa’s apartheid government. But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers. Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk. Unique diversity Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases. But what makes Mzansi 80s popular music unique is that it had to – and for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size. There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone..and so on. And everyone- detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description. Mzansi took disco- and slowed it down a bit.. ..exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later – Amapiano. The Roland TR-707 sampler came along in 1985- at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa. 'Yebo! Rare Mzansi Party Beats from Apartheid's Dying Years' compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.

It all begins here.

Alba Gitana, Gipsy dawn, is a commencement, a turning point of particular importance in the career of a guitarist labelled as “manouche”. Because despite the universality within that word, (“manu” meaning “man” in Sanskrit), it is often reduced to the almost mystical musical legacy of the genius Django Reinhardt. Steeve Laffont’s dawn sees his artistry break away from the confines of this tradition.

In his original compositions we find the ingredients for an unexpected recipe. There is a manouche feel to it, but the fragrance of flamenco mixes with Indian spices, the bossa nova breaks and klezmer rhythms are coloured by Spain ; Steeve finds comfort in both the journey and it’s unexpected turns. Such is the very essence of Tzigane culture. This album tells the story of an emancipation and the joy of no longer being held to respect a legacy, a tradition, of finally having so many more roots to grow with.

Freedom is key to this project which never compromises on the essential : sharing the pleasure of playing together. In the company of such virtuosos as Costel Nitescu on violin, Dominique Di Piazza on bass and of course the ever-faithful Rudy Rabuffetti on rhythm guitar, the compositions are never shows of strength, rather finely crafted magic tricks.

With such vivid, liquid playing Alba Gitana is an invitation to let go, to submit to a harmonic wandering as deep as it is wide. A high-wire walk between structures and freedom, here is the spirit of jazz at its most elegant and universal.

Fantastic masterpiece, considered one of the best Italo-Disco songs ever. A mega-classic produced by Stefano Zito and Carlo Favilli (the latter passed away too soon) characterized by a heartbreaking melody and lush strings that exemplify the mood and rhythm of the Italo-Disco style with the use of some sounds of pre-bleepy keyboard and siren that technically make it one of the very first rave songs ever, inspiring the style of many artists that came later, like Duft Punk. However, many of them don't even come close with their imaginative computers to that bassline and string sounds that melted the souls of many of us back in that distant April 1983, even if it seems that part of the melodic line has been copied not very subtly by Casco from that of El Deux's Computer-Madchen released in 1982 in Switzerland, where Salvatore Cusato was working as a club-DJ. On the flip another excellent remix version by Danilo Braca of the song revisited a few years later. The confirmation of the wisdom and foresight of its producers, aware that the BPM would soon be lowered by a lot. In the more than 8 minutes of "Cyberlover" the constant melancholy background together with the drum/bass/synth lines are preserved intact, giving us a complete reissued product.

First Ever Vinyl Reissue (released in collaboration with the Numero Group)

180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.

Little is known about the mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard…The crooning Howard got his start in 1957 on Herb Newman’s Era label where he released a bunch of excellent Doo Wop, Funk & Soul singles. Over the ensuing decade Howard slowly began piecing together his “Orchestra” consisting of bassist Jimmy Soul, guitarist Ron Carr, and pianist John True.

Howard’s Heart-Soul & Inspiration Orchestra cut their self-titled (and only) album in 1974 for John Spriggs’ Los Angeles-based Viscojon concern under the watchful eye of R&B godfather Johnny Otis.

The result was the birth of an astonishing piece of art filled with playful sexy moans, climaxing grooves and soulful hooks. One of the many highlights on the album (and clocking in at an epic eleven minutes), Vince Howard’s “I’m Gonna Love You More” is a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout.

Sadly, after their Barry White/Isaac Hayes facsimile LP failed to gain traction, the group released their final recordings—“Funk on Down” b/w “Fallen Angel”—for Viscojon in 1975 which became a hit among prominent DJ’s in the nightclub circuit. This ushered in the end for Howard’s Heart-Soul & Inspiration project.

Heart-Soul & Inspiration was a true example of a bright light burning out way too quickly. Thankfully we are left with the unique (and very rare) document that is their self-titled album. Almost impossible to get ahold of…a well-deserved reissue has been long overdue. This is an album that deserves a prominent place in every serious Funk & Soul enthusiast’s record collection!

Repress!

Now available for the first time on vinyl since its original release in 1999 on Rawkus Records, Trescadecaphobia brings you the CLASSIC LP from Pharoahe Monch "Internal Affairs." Featuring production from DJ Scratch, Diamond D, and The Alchemist with verses from Canibus, M.O.P., Busta Rhymes, Common, and Talib Kweli.

Originally released in 1993 on DJ Phantasy’s Liquid Wax label, it has now been repressed in conjunction with Vinyl Fanatiks on coloured vinyl – options red/white/blue.

DJ Phantasy co-production alongside his mate Simon aka DJ Kid Twist. This was produced at Jack Smooth’s studio and engineered by a young Alex Reece, who later found fame on Metalheadz.

This record, as with most of the Liquid Wax backcat, is sought after on original press so we are delighted to be able to get this repress out to you in a high quality gloss Liquid Wax housebag and white inner sleeve. Released on either red, white or blue 180g heavyweight vinyl.

Hi Scores is beyond excited to present SSR Records: In Retrospect. This 2LP compilation album presented in a beautiful gatefold sleeve and through all digital platforms, wishes to highlight the immense and hard to grasp legacy of the Brussels based label. SSR Records was founded in 1988 by Marc Hollander as a sub label of his Crammed Discs and spanned the nascent years of house, acid, rave, trance, new beat, hip-hop, future jazz and broken beat, collaborating internationally and racking up close to 200 releases until it was put to sleep in 2002. Far ahead of their time, SSR Records released music of both European and North American artists that hadn’t broken through yet, such as those collected on this compilation: Move D, Nu Era, Gemini, Bjørn Torske, Glenn Underground or Matthew Herbert.

SSR Records was run by Crammed Discs chief Marc Hollander and Minimal Compact singer Samy Birnbach aka DJ Morpheus. SSR Records: In Retrospect comes with extended liner notes, exploring the pivotal milestones in the history of the adventurous label and zooming in on the origins of all records featured on the compilation.

All nine tracks on SSR Records: In Retrospect were selected by Hi Scores’s head honcho Kong DJ and have been remastered. Created between 1990 and 1996 and in the at the time pioneering spheres of house, breakbeat, electro and trance music, these treasures from the vast SSR catalog today stand as a stunning testimony to a truly remarkable and timeless musical legacy. Kong DJ: ‘While collaborating with Crammed Discs on the releases of Aksak Maboul in 2016 and Zazou / Bikaye in 2018 on Ensemble, I began to grasp the impressive catalog of the label and its sub labels, including SSR. Surprised by the tiny footprint SSR had left on the world wide web - often the case for labels ceased before the internet revolution - I wrote an article for British website The Vinyl Factory.

This would later prove to be the first step towards this compilation album, collecting favorites from the label as a kid in a giant candy store.’

Repress!

‘Shapes,’ the third album from London-based multi-instrumentalist, Robohands, fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character: “My favourite guitar sound achieved on this LP project is a Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings."

JOHN BARERA (2MR/ALLERGY SEASON/DOLLY/SORRY RECORDS) is a DJ, Producer & Label owner based in NYC. His sound is rooted in techno and house’s most classic iterations: sturdy, barreling grooves, shimmering pads, deep liquid dubs and the occasional acid burn. BRIAN ABELSON is the producer of JENNIFER VANILLA’s “CASTLE IN THE SKY” album. Here they team up for 6 mesmerizing tracks of funky disco-tech on the latest 12" from the YOU TOO CAN WOO crew. Intricate rhythms, hypnotic synth arpeggios, lush ambience & seriously funky basslines make "THE ARC" a fantastic showcase of this duo's talent and versatility.

Another deep techno ride on Delsin's Cameron series by Rhythm B?ro co-founder Na Nich. The Ukrainian DJ and producer delivers four excellent vibrant, dreamy techno trips. From the punchy 'Inlamint' to the unstoppable flow of 'Subway'. A darker twist appears on the mesmerizing 'Black Soil' finishing it off with a downtempo eyes closed delight 'Argonaut'.

(Incl. tracks by Alex Medina, Marco Bailey, Testimony, MTRZ, Diego Infanzon, Alex Finkin & Rocco Rodamaal)

Hand-picked by Laurent Garnier & Scan X, this latest volume is another diverse collection, leaning towards the wonkier and of techno and electro, but with jaunts into other ballparks, such as the hip-hop and spoken word drift in Testimony's 'Soul Sellers'.

Early support from The Blessed Madonna, John Digweed, Joseph Capriati, Ross Allen & DJ Deep.

Just in time for the summer R&C Records is back, delivering a new edition of fresh reworks from the Italo and 80s scene.
Logo side sees a cool re-imagination of “Starter” (which never made on a vinyl before); Lucio’s voice gets a Balearic treatment
through Italo synths and space-disco harmonics sounds!
On the flip side an addictive Electro-Boogie retouch of a well-known anthem from the Synth Pop era.
Limited sampler - Vinyl Only !!

Two Form a Click (DJ Snaffy, Wretchen Redspiders) collide with Horatio Pollard to deliver two sides of beautifully coalesced psychedelic synthesis, heavy with dub's production values and freed from the grid of analog electronics.

DTR Recordings enlist the expertise of the one and only DJ Sneak for a four track of underground house excellence. A true Chicago legend Sneak is responsible for producing a seamless string of seminal house tracks from the ‘90s through the ‘00s to the present date.

For this latest EP, Sneak serves up four brand new original productions, straight up jackin’, groove-laden house bumpers that we’ve come to expect from the mind of a master.

* Strictly limited-edition 12” vinyl in full colour sleeve
* V Recordings is excited to bring you the latest addition to their 'Legends' series, featuring none other than the legendary Jungle and Drum & Bass producer, Dillinja. You know the drill by now, two tracks, much sought after made available for the very first time.
* Dillinja, aka Karl Francis, has been a staple in the Jungle and Drum & Bass scene since the early days. With his poinerring basslines, intricate rhythms, and futuristic sound design, he's earned a reputation as one of the most innovative producers in the genre. His music continues to be celebrated by fans and DJs alike and remains just as fresh as the day it was created.
* On the hunt through the vaults Bryan Gee, came across these two tracks, 'Lionheart VIP' from 1994 and 'Love 4 You VIP' from 1999/2000, and knew instantly they needed to be part of the collection getting the transf erred to digital and remastered for this release. The result? A taste of Dillinja's unmistakable production style, giving us a glimpse into his creative process during the early days of Jungle and Drum & Bass.
* V Recordings is celebrating 30 Years in the game this year and Dillinja has been a part of the family from the start, with tracks like 'Unexplored Terrain', 'Grimey', and '40Hz' amongst many others that are widely considered as timeless classics that have made a lasting impact on the genre.
* This vinyl release is a must-have for anyone who loves Jungle and Drum & Bass. The 'Legends' series is all about showcasing previously unreleased gems from the archives and taking fans on a journey through the history of the genre. So, don't miss out on this limited edition release and add a piece of Jungle and Drum & Bass history to your collection today!

Hand the king of re-edits Late Nite Tuff Guy the keys to an unreleased Silk recording from the ‘70s hey days and you’ve got yourself a recipe for greatness. A’s and Bees line up their second heavyweight 12 inch pressing, with two exhilarating edits from LNTG alongside the first ever release of the original recording. As ever 50% of the profits from this release will be donated towards the British Beekeepers Association.

It's rare to crack the vaults on a recording that’s as good as this, that never saw the light of day. Courtesy of ‘70s Philly International wonders Silk, most famed for their soul sensation ‘I Can't Stop (Turning You On)’ that was sampled by LF System for their 8 week strong number 1 release, ‘Somethin' 'Bout The Way’ has all the elements of a smash hit. As catchy as they come, singalong sensibilities and musicianship of the highest order with vocal harmonies to match, it’s genuinely astonishing that this never got released. Who better to tweak this into an all-out disco stomper, than re-edit royalty Late Nite Tuff Guy. His Disco Dub teases in, loops up and adds extra punch to all the elements that make the original such a standout track, before letting loose those joyous vocals. Big room, full body, DJ friendly business this!

On the B side, the original mix gets it’s first ever release, with LNTG providing a shorter edit of his full throttle re-work to round off the package.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Welcoming the inimitable DJ and Producer Dan Shake with his forthcoming EP Verde, set for release on May 26 2023.
Renowned for his infectious charm in the booth and an expert ear for funk, soul and disco rarities, the producer who cut teeth making maximum impact dancefloor groovers is now taking an introspective new direction. Dan was inspired after his relocation to Devon from London where a new found feeling of escapism and appreciation for nature allowed him to experiment with his own sound more than before, including using his own vocals at the forefront for the very first time.

Dan Shake (Daniel Rose-Weir) began his notoriety with the Mahogani Music released 3AM Jazz Club / Thinkin’ in 2014, using Moodymann’s seal of approval as a springboard for his ambitions. Even as dancefloor-igniting releases piled up year on year, such as the Ibiza-smashing ‘Claudia’s Trip’, or any number of Shake Tapes white label edits, Shake’s expertise as a DJ began to match his production chops. This makes for two combined sides of what Dan Shake represents: an explosion of colour, variety and flavour, no matter whether he’s jamming on a rotary in the booth, or juicing fresh joy from old samples in the studio. Basements, lofts, tents, festival stages with the production dialled up to 11 – all are welcome opportunities to let loose. But as his sound has evolved and his reputation as a killer DJ has grown, Shake’s love of connecting to the dancers in front of him has remained, well, unshakable.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

Egyptian-Australian DJ/producer moktar announces his second boundary-pushing five track EP, ‘Immigrant’. An expressive and considered journey that combines his Middle Eastern heritage and influential club sounds in one.

‘Immigrant’ sees moktar continue to bring traditional Arabic instrumentation into the club by weaving samples like polyrhythmic drumming and the Arabic Oud into experimental club music which has captured the attention of many tastemakers. Giant Swan, Anz, Tash LC, Raji Rags, Jamie XX, Bonobo, Groove Armada, Hudson Mohawke, Mary Anne Hobbs and Jamz Supernova all championed his highly favoured self-titled EP in 2021, which topped the Australian community radio charts as a number #1 most played alongside the global support it received. The release represented re-learning the value of his Egyptian heritage following racism and stereotyping growing up. ‘Immigrant’ expands on the story.

Debut single ‘Immigrant’ was released in September and served as a backdrop for moktar to air the stories of many as well as his own, told through a chopped vocal sample of Arsenal Football Club’s host and hype man, Frimpon. ‘North Africa’ and ‘Al-Duqqi’ are a homage to moktar’s roots. ‘Crossroads’ represents his need to push himself and grow in life and music, and ‘Send it’ (a term in Australia that means you're about to do something wild) also aims to represent Middle Eastern communities in Bankstown, Sydney.

moktar explains - “Through Immigrant I wanted to highlight the struggle many people all over the world go through to be accepted, while representing the community in Egypt, North Africa and Australia. Fusing Middle Eastern sounds into sounds into my music has been a big part of helping me become proud of who I am. I feel passionate about bringing these sounds to a wider audience in the hope it helps others in the identity struggle feel a sense of pride too”

The EP falls just as moktar’s highly anticipated debut EU tour comes to a close, playing b2b with DJ Plead at Phonox for Yung Singh, Adaptations Festival, Repercussions Festival, Werkhaus Festival, b2b with Mr Scruff at Field Day, Lost Village, Amsterdam for ADE with Kode 9, Rex Club in Paris, and Takseer festival Berlin.

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

Skepta and fellow BBK member Jammer launch house label Más Tiempo, with the pair collaborating for the debut EP ‘Mas Murder’

The release sees the Mercury Prize-winning MC, songwriter, and producer showcase his house sounds ahead of the label launch party at London’s KOKO on 30th April 2023.

Skepta, the influential Mercury Prize-winning MC, producer, designer, director, and founding member of seminal British grime collective Boy Better Know, unveils his new label Más Tiempo on 28th April alongside instrumental LOTM founder and BBK mainstay Jammer, as the pair launch the house-centric project with their ‘Mas Murder’ EP.

Featuring London talents J Kolo and Ossie (Club Bad/Madhouse), the debut EP showcases a first glimpse of the musical direction of the label, with the imprint set to provide a platform for producers to ‘expand their current portfolio range’ - with Skepta building on his iconic DC10 debut for Circoloco last summer, plus forthcoming appearances in Milan, Ibiza and more.

“‘This generation rules the nation, with version’... that really resonated with us for the Más Tiempo journey. Musical Youth sampled on ‘Mas Murder’ was perfect to showcase the way we feel about giving people our spin on house production with instrumentals while paying homage to the ones that came before us.” - Jammer.

Collaborating on the lead cut, Skepta and Jammer’s ‘Mas Murder’ is a low-slung, heady house cut shaped for bustling terraces and built for clubs, fusing crisp percussion, a snaking bassline and eerie melodies for a heads-down effort. Handing over to Jammer, who links up with J Kolo and Ossie, ‘Touch Me’ draws from UK house influences for a skippy, slinking production.

Alongside the EP, Más Tiempo will also take over legendary London venue KOKO on 30th April, with the event being the first standalone show for the collective, having collaborated with The Martinez Brothers and Cuttin Headz at The Beams in December. Featuring performances from Benji B and DJ Maximum alongside sets from both label heads, the show will see Skepta return to the venue for the first time since 2016 following the release of his critically acclaimed LP ‘Konnichiwa’.

The first ever release of electronic Jaglara, an obscure dance music being innovated in an area near the Sudan, Ethiopia, and Eritrea border called Fashaga.

Among the most raucous, hypnotic, addictive, and celestial dance styles being made anywhere in Africa, this heavy, mysterious sound is being led by one man: Jantra, which translates as "craziness," a moniker bestowed to celebrate both his personality and sound. Jantra is a rather unknown quantity even in Sudan, outside of the circles which have granted him cult status to perform at their humble gatherings or at street parties far from the gaze of the cities.

Jaglara, which roughly translates as improvisation, has no songs. Jantra simply freestyles a combination of his melodies incessantly for hours on end, acting as a live producer and DJ for emphatic crowds, where the energy of his 155 - 168 BPM music is known to inspire the odd gunslinger to raise and fire his pistol in the middle of the dance floor. His music is hopeful in a hopeless world, uplifting in spirit, ancient and new, childish and mature, familiar yet refreshingly obscure, fueled by the hypnotic Sera rhythm. His Yamaha keyboard is specially tweaked to achieve what you're hearing — the perfect, sweet key tone, literally universal in its appeal.

A hybrid reissue-contemporary album, Ostinato combined extracted individual melodic patterns, rhythms, and MIDI data from Jantra's Yamaha keyboard with his older cassette and digital recordings to recreate his lengthy sessions into individual dance tracks for a worldwide audience to reach the enviable frenzy of Sudanese crowds. This promising new dance music emerging from the deepest reaches of Sudan has never made its way outside of Jantra's parties, let alone outside of the country.

This record is confirmation that the many electronic styles being exported from Africa have a worthy sibling and rival—Jantra's signature electronic Jaglara from the Fashaga underground. It is a privilege of the highest order to be exposed to this unheralded, incredibly well kept rural Sudanese secret.

Repress!

One of the gems on the smash hit album 'Soulmatic', Purple Disco Machine & Boris D'Lugosch's, 'Love For Days' gets the remix treatment three ways.

First up the master Kenny Dope - crisping up that shuffling rhythm with some added percussion and synthesiser arps to turn what was already a peak time soulful anthem, into a close to 8 minute extended journey drawing you in more and more with each build up and breakdown. Next up the PDM offers up an extended mix of the original, a welcome sight for those DJs on the club scene who have been rinsing this since the album dropped last year.

Finally, Motez takes you into raunchy, r&b tinged, garage territory, really honing in on Karen Harding's incredible vocals whilst incorporating brooding pads and sweeping fx's to create a special twist on the original.


DJ Support:

Aeroplane (Aeropop / Eskimo Recordings), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Autograf (Counter Records), Treasure Fingers (Psycho Disco! / Fool's Gold), Malente (Southern Fried Records), Satin Jackets c/o (Eskimo Recordings / N.E.W.S.), Eric Sharp (9G Records), Gregor Salto c/o (Spinnin' Records), DJ Blake Jarrell (Armada Music), Jerome Price (Throne Room Records), DJ Licious (Spinnin' Records), Travis Emmons (Weapons Music), Electronic Youth (KMS), Solidisco (Fool's Gold / Ultra) :: Mark Knight c/o (Toolroom Knights), Mike Mago (Boemklatsch), Muzzaik (Spinnin' / Toolroom), The Disco Boys (We Play Music), Trevor Mac (Jalapeno Sound System), Ferdinand Weber (Spinnin' Deep), LCAW (Ultra), Plastic Plates (Sweat it Out), Mark Lower (Nurvous), Don Diablo c/o (Axtone / Spinnin' Records), Eton Messy, Après (Love & Other Records), Spada (Ego Music / Hysterical), Eelke Kleijn (Spinnin' / Suara), Horsemeat Disco (Strut Records / K7! Records), Horsemeat Disco (Strut Records / K7! Records), Adriana Lucia (Get Physical), Broc Roc (Dj B-Roc of The Knocks), Chordashian (Mullet Records), Hector Romero (Saw Recordings), Just Kiddin (Nervous Records)

Idris Elba c/o (Connaisseur Records / 7Wallace), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Shiba San c/o (Suara / CUFF), Malente (Southern Fried Records), Rudimental (Asylum / Big Beat), Sirus Hood (Under No Illusion / Dirtybird), Marc Spence (This Ain't Bristol / Skint), Martin Solveig c/o (Spinnin' Records), Horsemeat Disco (Strut Records / K7! Records), Riva Starr c/o (Hot Creations), Mike Mago (Boemklatsch), Kokiri (Love & Other), Fred Falke (Work It Baby Records), Claptone c/o (Exploited), Roger Sanchez (Stealth Records / Astrx), Don Diablo c/o (Axtone / Spinnin' Records), Icarus (FFRR / SubSoul), Pezzner (Dirtybird), Jourdan Bordes (Phonetic Recordings), Mahalo (Toolroom / Bunny Tiger), AC Slater (Night Bass), Chordashian / Felix Feygin (Mullet Records), Fei-Fei Wang, Kristina Sky (Ultra / Armada), Thee Cool Cats (Toolroom / Bunny Tiger), Solidisco (Fool's Gold / Ultra), Infected Mushroom c/o (HOMmega Productions), DJ Blake Jarrell (Armada Music),Travis Emmons (Weapons Music), Human Life (LIFEX / Exploited), Treasure Fingers (Psycho Disco! / Fool's Gold), Hector Romero (Saw Recordings), and Danny Howard (BBC Radio 1 / Nothing Else Matters)

Balearia series stunning with a more groove-driven tracks made for the dancefloor. Starting with four new dancefloor tracks, a combination of 90s underground energy with modern grooves, a summer feelings the sea spoils you just like good wine and lots of sun... Includes Ricky Montanari remix

repress !


Label boss Coco Bryce aka DJ-Y finally delivers the second volume of Faces Of Bass, the Myor sublabel focussing on 4x4 hardcore in all its shapes and forms.

Speed Fever is one for the Gabber and Acid heads alike. Its mixture of distorted kick drums, ruffneck 303 melodies and rushy rave stabs echoes the late 90s squat party heydays of the Netherlands.

Get On Up sees Coco opting for a slightly more subtle approach, blending acid bleeps with warm chords and a moody Reese bassline over a rolling Jungle Techno framework.

Latincore is a musical journey that begins with this compilation. latincore is a virtual club. latincore is an attempt to reflect with artists whose origins share the same soil.

This compilation brings together 14 sound propositions, offering a snapshot of a latinx, political, migrant and diasporic underground scene. Curated by Marion Stucky Callañaupa and Juan José Moreno Izquierdo.

Back in 2018, two mysterious twelve-inch singles appeared in underground record sthops. Credited to Blotter Trax, a previously unknown outfit who cherished “faceless” anonymity, the pleasingly twisted and mind-altering music on show was a mutant form of electronic psychedelia. The included tracks were variously informed by analogue techno, acid, electro and minimal, but inhabited their own clandestine sonic space. These tracks were, we later discovered, lightly edited “straight to tape” jams, crafted on the fly by their creators in one of Berlin’s most admired studios.

By the time Blotter Trax delivered their follow-up on Clone offshoot Frustrated Funk a year later, the secret was out: the project was in fact a collaboration between two storied artists, techno titan Magda – a DJ/producer who should need little introduction – and serial underground aggravator (and man of many aliases) Jay Ahern, sometime Hauntologists member and acid techno royalty thanks to years spent releasing similarly shadowy EPs as T.B Arthur.

In the years that followed, and before the COVID-19 pandemic grounded them in Berlin, the pair took their incendiary, modular-driven live show to esteemed clubland institutions (Fabric included), on an acclaimed tour of Japan, and onto the stages of festivals across Europe.

Four years on from that appearance on Frustrated Funk, Blotter Trax are back in updated and expanded form. Now a trio thanks to the addition of bassist Hannes Strobl, the band is set to release their far-sighted, funk-fuelled debut album, Super Conductor – a pulsating, thrill-in-minute ride includes contributions from a swathe of notable guests (Nina Hynes, Ilhem Khodja and David Moss provided vocals, Shigeru Tanabu played guitar, Matthew Styles mixed the set and old friend John Tejada mastered it).

While rooted in electro and acid, the album is impressively low-slung, stylish and funky, with nods towards Blotter Trax’s mutual love of Arthur Russell, early ‘80s NYC downtown disco, leftfield new-wave pop and flash-fried punk-funk. Released by JD Twitch’s Optimo Music imprint, it charts the ongoing dancefloor evolution of a band whose days of mystery and mischief are now a distant memory.

Introducing the freshest entry to our Little Beat More family with the very debut album by Magnetic Tailors out now!


The self-titled 'Magnetic Tailors LP' showcases the diverse influences that have shaped the style of this emerging project straight from Marseille's deepest underground, in a perfect blend of two unique sounds that represent the very soul of the group. Half hip hop and soul, half reggae the album features some of the most talented African artists such as Bhekiwe, Indigo Saint and Adam Raad, as well as leading exponents of underground hip hop such as Blurum13, DJ Vadim's partner in the Oneself project, and Blacc El, protagonist, among others, of an exceptional duet with the amazing voice of Giulietta Passera, from Sweet Life Society and Mangaboo.


A sound that reflects the influences and roots of the Magnetic Tailors and their city, a vibrant place of encounter and contamination for very different cultures and realities that come together in a unique and original artistic expression.

Straight from brittany, the Floorfillers (thomas & matteo) have devoted a cult since their earliest childhood to Crydamoure, Roulé, DJ Sneak, Paul Johnson and all the 90s french touch.

Recent favorite of skylax records, they are for us more the turbulent little brothers of Daft Punk & Mr Oizo, their sound is incredibly rudimentary and at the same time so close to the ideals of house music which have disappeared from radar screens for at least the last 5 years (thanks to these IG's DJs a$$holes), they are the next generation, they are the hope.

All may not be dead. Their 12 inch is and will be a deflagration on the dancefloors. A must.

Rule of Thirds is the debut album from Nine Windows, a collaborative project between Kid Drama & DJ Trace.

The album pulls inspiration from the golden era of atmospheric jungle with the focus on labels like Good Looking, Deejay Recordings and Lucky Spin.

Expect deep nostalgia and euphoria as the pads wash over you and breaks skitter over subsonic 808 basslines as these two veterans take you on a journey into 90s bliss.

To top it off there are features with the Pioneer of the new Jungle movement - Tim Reaper and the legendary Skream making an appearance on the album.

So sit back, reminisce and listen to the sounds of Nine Windows.

FullTime Production is honored to present the new vinyl of "Kano - Turn It Up/Unconditional Lover" featuring remixes by Danny Krivit, Les Inferno, FrescoEdits and Dr Packer! Pages and pages of music culture and clubbing packed into one vinyl! Danny Krivit the living history of a world that no longer exists and thanks to him we listen to its vibes and imagine dancefloors on the edge of the underground.

Dr Packer Australian artist who boasts major collaborations, has
released singles and albums for international labels and is also already featured in FullTime Production's catalog.

Les Inferno established Italian DJ and producer, mine of knowledge of
Italian clubbing and vinyl connoisseur of the afrobeat, funk and disco
genres.

FrescoEdits is an artistic project that has based its success from the
love and art of sampling big hits as well as a label and a community.

A showcase of some of The Modern Jazz Quartet’s most iconic Montreux Jazz Festival live performances, recorded between 1985 and 1993!

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The release includes brand new liner notes and rare photos from his Montreux shows.

ARCHETYPE ist die Klangwelt zweier gegenüberliegender Magnetkräfte: Produzent/Komponist/Keyboarder Joe Armon-Jones mit Jazz, Soul und Improvisation und Produzent/DJ Maxwell Owin mit den Sounds seines Hardcore-Continuums aus Jungle, Dubstep und Drill. Fasziniert von den Philosophien, die diese subkulturellen Welten miteinander verbinden, lässt das Duo unterschiedliche Instinkte, Disziplinen und Stärken zu etwas verblüffend Frischem verschmelzen. Gefangen zwischen Club und Schlafzimmer, ist ARCHETYPE - mit den Featuregästen Lex Amor, Shabaka Hutchings, Fatima, Rocks FOE, O the Ghost, Mala, Maysia Osu & YUIS - der Nachfolger ihres Debüts IDIOM (2017), das ihnen die Zusammenarbeit mit seelenverwandten Künstlern wie Ezra Collective, Greentea Peng, Nubya Garcia, Oscar Jerome und Moses Boyd eröffnete.

The makossa man part 3 is back after a hiatus of 18 years with timeless cover versions done this time by Simoncino, FTG & Groove Boys Project ! Limited edition, for DJ use only.

Hibotep is of Somali ancestry. Born and raised in Ethiopia, she currently lives in Kampala, Uganda. A walking, breathing example of the diversity of Kampala’s arts and culture scene, Hibo Elmi is, amongst other things, a DJ, filmmaker, fashion designer, installation artist, rapper and producer. A self described cultural nomad, pushing forward a genre she calls Industrial Shamanism.

Das 5. Studioalbum von Django Django trägt den Titel ”Off Planet” und besteht aus 21 Titeln, die in vier Teile aufgeteilt sind. Ursprünglich sollten es vier experimentelle EPs werden, die aber schnell in ein richtiges Album verwandelt wurden, als die Band das Potenzial der Aufnahmesession erkannte. ”Off Planet” enthält einige der aufregendsten und dynamischsten Stücke, die Django Django je produziert haben. Das Album ist eine Rückbesinnung auf ihre experimentellen und elektronischen Wurzeln und enthält außerdem spannende Gastauftritte von Self Esteem, Jack Penate und vielen anderen.

Jeder Teil des Albums wird digital veröffentlicht und am Tag der Veröffentlichung des vierten Teils wird das gesamte Album auf Doppel-Vinyl und Doppel-CD erscheinen.

We continue to dig into the archives to unleash the Bonzai sound on to a new generation of fans and stir up cherished memories for those that know. Bonzai Compilation III – Rave Nation first saw the light of day in 1994 on CD and showcased the talents of a fine roster of in-house artists who were churning out hit after hit. Despite only being two years old at the time, Bonzai Records had already taken the electronic dance music world by storm with previous comps proving hugely popular across Europe and continues to do so with enthusiasm to this day. For the vinyl collectors, we’ve selected and remastered 9 tracks off the original release from Aqua Contact, Techno Junkies, 3XXX, Dialectrum, Jones & Stephenson, Airplay, Bountyhunter, Yves Deruyter and B.W.P. Experiments along with a first-time-on-vinyl appearance for Yves Deruyter’s remix of La Sirena by Aqua Contact. This limited 2x12” presented in a gatefold sleeve with original artwork is the perfect curation, providing you with a mighty arsenal of weapons to unleash on the dance floor.

We continue to dig into the archives to unleash the Bonzai sound on to a new generation of fans and stir up cherished memories for those that know. Bonzai Compilation III – Rave Nation first saw the light of day in 1994 on CD and showcased the talents of a fine roster of in-house artists who were churning out hit after hit. Despite only being two years old at the time, Bonzai Records had already taken the electronic dance music world by storm with previous comps proving hugely popular across Europe and continues to do so with enthusiasm to this day. For the vinyl collectors, we’ve selected and remastered 9 tracks off the original release from Aqua Contact, Techno Junkies, 3XXX, Dialectrum, Jones & Stephenson, Airplay, Bountyhunter, Yves Deruyter and B.W.P. Experiments along with a first-time-on-vinyl appearance for Yves Deruyter’s remix of La Sirena by Aqua Contact. This limited 2x12” presented in a gatefold sleeve with original artwork is the perfect curation, providing you with a mighty arsenal of weapons to unleash on the dance floor.

Music Plan, label headed by Fabio Tosti creates this vinyl EP dedicated to House Music lovers.
The vinyl includes of 4 different tracks.

Side A Soulful and Deep House style includes "Take Me Down", a track with a Classic House mood, perfect for refined DJ sets.

The second piece of side A, has a Deep House song with an amazing atmosphere and a great impact on the dancefloor. Side B is more clubbing. It opens with one of the successful songs from The Deepshakerz and "Shosholooza" by Fabio Tosti.

Pure energy!

Richard Lamb’s second and (presumably) final release under this moniker is a bit of a special one. Lamb starts off with ‘Salt Lick’. A track with beautiful, lush, sunny sounds that lure you into an unexpected world of electro, heavy bass and more dance orientated tracks like ‘A Life In Harmony’.

Following up his first EP ‘Automatic Tango’ on his own Montreal based Temple imprint, there’s still hints of early Moog greasiness but overall it’s a more decisive production compared to the previous one. Intricately layered percussion mixed together with dreamy pads take you on a journey to a hidden Utopia where tight arrangements and tribal-esque rhythms dictate the pace. Once more we are shown how versatile Lamb’s productions are and how he juggles genres freely, ranging from dub to electronica, experimental, idm and techno.

The second side of this EP features two remixes by non other than Norwegian DJ and producer DJ Sotofett. A heavyweight in the electronic music scene who needs little introduction takes on the EP’s title track ‘A Life In Harmony’ and turns it into two electro-acid pieces ready to tear up any dance floor, or anything else for that matter. Surrender to the acid and indulge in these masterful tracks.

Dennis Quin returns to his own self-titled imprint with the ‘Temptation’ EP, comprised of four sturdy original House cuts from the Dutch producer and DJ.

Throughout the past decade, Dutch artist Dennis Quin has amassed widespread support from many leading figures in the underground house scene through material on the likes of PIV, Cecille, Defected, Jerome Sydenham’s Iconic Ibadan and Kaoz Theory, as well as collaborating with the latter label’s founder, Kerri Chandler, and yet another icon of House, Todd Terry amongst others. Here though, Dennis tips the focus towards his own label to deliver more of his raw grooves, crisp beats, and bouncy bass lines.

Title-track ‘Temptation’ leads and lays down a choppy bass line, euphoric piano keys, classic rave stabs and a hooky vocal lick alongside his signature swinging, robust drum style. ‘Ascending’ follows next and sees Quin lean towards a more percussive led feel via heavily shuffled drums, dubbed out vocal chants and twitchy stab sequences.

Opening the flip side of the EP is ‘Odessey’, this time bringing a wavey, elongated bass line into the limelight, subtly nuanced throughout for hypnotic effect while a bouncy drum workout carries the groove throughout. ‘Love Fiyaa’ then rounds out the EP on a raw and reduced tip, fusing ethereal pad swells and murky bass flutters with a stripped-back and sporadic dub vocals.


DJ Support:

Enzo Siragusa
Archie Hamilton
Chrissy
Okain
Freedom
Severino
Jimpster
Mr. V

The Church Of Love is the project by Nico Lahs, Massimo Bastasi & Mauro Copeta aka Hard Ton and Michele Lamacchia aka Rhythm Of Paradise. This powerful collective presents the first release called "Rising" incl. remixes by Chicago Legend, Gene Hunt, the mighty Dj Soch, Girls Of The Internet & Love In The Morning.

Welcome to the modern Brazilian disco world of Processman and Cady. We know you're going to love it here.

DJ and producer Processman is from Salvador, Bahia. A passionate and talented musician, he has played in a number of bands in his city, which is famous for artists such as his heroes Gilberto Gil, Joao Gilberto and Jorge Amado.

Processman was introduced to Cady, a fellow Baiana and a very fine solo artist in her own right, by a mutual friend.
The connection was instant and they started making music that very day.

Fast forward to when Dicky Trisco was passing through Salvador after playing the magnificent Mareh festival in Bahia. Processman drove Dicky and a group of friends to local hot spot Pelourinho, and the first track he played in the car that night was 'Adupe'. Dicky was blown away by the track. The brilliant Brazilian percussion, the beautiful layered vocals, the spiritual, synth boogie-laden vibes and those delightful melodies. He was absolutely hooked. The second track Processman played was 'Sou Baiana' and a record deal was already a sure thing. They hadn't even made it to the bar yet.

A year later and the release is ready to let loose its magical, spiritual, boogie-laden vibes.

NYC Brazilian aficionado JKriv, the perfect choice for a remixer for this sound, has delivered an essential, cosmic disco dub of 'Adupe'.
While Dicky Trisco takes on 'Sou Baiana', stripping it down and pumping it up into a truly rocking dance floor bomb.

File it under Modern Brazilian Disco. A truly International sound.

LET'S VAMOS!

In Stereo is the debut studio album by hip hop group Bomfunk MC's, released in 1999. The album reached No. 1 on that year's Finnish albums chart and remained in that chart for 69 consecutive weeks.

In the group's home country, Finland, the album received an Emma Award for Best New Band, Best Debut Album, Best Song ("Freestyler"), and Best Producer (JS16). In Stereo was certified double Platinum in 1999, with over 130 thousand copies sold; it is currently the 25th best-selling album of all time in Finland.

The album contains the hit singles "Uprocking Beats", "B-Boys & Flygirls" and "Freestyler", of which the latter became a chart-topping hit worldwide during the first half of 2000, reaching No. 1 in eleven countries.
In Stereo is available as a limited edition of 1000 individually numbered copies on translucent red & blue marbled vinyl, housed in a gatefold sleeve.

Superb Gatefold printed sleeve...

Conceptual inside brain travel...

To express the mental acid sounds to check...

First track announces the style with a long Break intro... mental tune... Superb ambiances... very Cinetic and good to mix.

Second track goes 128 BPM acid progressive techno... Excellent Dj tool at a rare speed... flirting with the Trance.

Last track of the A side grow the speed up to 150 BPM with a long break intro tunring after a while more/less 4/4... The sound is very acid and industrial. A big tune !

B side goes up to 160 BPM : Minimal acid sound.

...And finishes in a dark 170 BPM progressive acid track. Mentalcore aera starts here....

Second record opens with a 146 BPM techno mental acid stabilizer. Deep.

Second track is mentalcore big acid overdrive dancefloor pearl from Mr Gasmask !

Last Track of C side from Emetic is a Hardcore splendid exciting tune... maybe the best of this record. Quiet minimal and banging at 170 BPM it reminds the A*Symetric Spivey style:)


... Last side, opens with Minus Polaris and a pure mental acid grower

Last tune of this jewel is from Scandal Orchestra, a Hardcore frontier Hardtek acid track in the classic french good vibe style... Enjoy !

Four years on from his explorative third full-length ‘Aquamarine,’ Londoner Ash Walker returns with an equally ambitious follow-up, set for release via Night Time Stories on 30th June. Alongside a plethora of award-winning collaborators and combining a dizzy- ing array of sounds, ‘Astronaut’ hears Walker push his astral shower of rhythm and vibes to new heights. If 'Aquamarine’ was the take-off of his audial spaceship, ‘Astronaut’ is the cosmic voyage reaching terminal velocity; a rocket-powered masterclass spanning jazz, blues, soul, funk, and reggae.
An avid record collector, Walker has DJed far and wide... from the infamous Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA. His own production output is similarly explor- atory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists includ- ing Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts and Gideon Coe.

Italian DJ and producer DIMMISH is one of the most appreciated artists of the high energy, yet minimal panorama thanks to his innovative sound and style. He began studying Sound Engineering and Music Technologies at Scuola di Alto Perfezionamento Musicale, and then embarked on the path of music production.

Later his passion for analog synths and modular systems prompted him to experiment more until he found his own sound and musical imagery. This four-track EP is nothing short of his high-energy, up-beat, groovy flavour. ‘Orbit’ kicks things off with dubby effects and a deep bass power, ready for any peak dancefloor moment.

Continuing to ‘Lemon Life’, which squeezes soft synths over an understated house groove. ‘Singularity’ has a slightly tougher feel, with the chugging bassline and rolling synths for a darker club side. Finally concluding with ‘Dissolve’, a delightfully deep and breezy minimal dub house roller with pensive chords draped over hypnotic lyrics.

The second outing from Transmigration’s anything goes sub-label Sacred Stones. Four DJ edits covering repurposed free tekno, extended proto trance and a cosmic jam with Cocktail D’Amore resident Trent. Vinyl only, those streaming fat cats won’t see a cent from this.

Here we‘ve got two tunes that come with a fascinating story. Recorded in the late 70’s, but never released, this music was thought to be lost.But let’s go back to the beginning. Rose was originally a member of family affair called „The Cornelius Brothers and Sister Rose“ heralding from Dania Beach, Florida. The group had early success with a recording contract with United Artists, which produced two albums in 1972 & 73 respectively, plus an extensive number of single release taken from these albums, which included the million seller ‘Too late to turn back now’.

But Rose’s story starts even further back, singing solo and as part of the Gospel Jazz Singers in the late 60’s, with even a solo appearance on The Ed Sullivan TV show. In 1970, at her mother’s request, she returned home to form the family group and to use her contacts in the music industry to move things forward. The group stayed together until 1976. Soon after Rose returned to a solo career, but few further releases appeared. During this time she recorded a number of tracks in Miami at The Music factory with producer Shirley Cowell, who later received a grammy nomination for her work with Lena Horne. Arrangement was done by gold-certified studio veteran Frank Owens. By this time the Disco sound had taken over much of the music industry and these tracks had a Hi-Energy feel that was much in favour at the time. This session produced the titles ‘Here’ and ‘I want you to stay with me’ but no release was forthcoming.

For many years they became almost forgotten, until the next chapter of the story.In 2018 DJ and record collector Dave Thorley saw an old & dusty acetate disc for sale online, credited to Rose Cornelius. When listening to it he realised that this was indeed Sister Rose of the aforementioned group and purchased it, initially with the intention of simply playing it in his DJ sets. Dave offered the disc to his friends of the Disco Bizarre crew from KitKatClub / Berlin for their record label. Rose, in turn, was contacted and she was kind enough to give permission for its release and additional contemporary remixes/ re-edits. Thus New York producer veteran DJ Duke and San Francisco Disco authority Jim Hopkins landed on the bill. You now have the results of this story on Disco Bizarre’s latest release - a story that has spanned fifty plus years. We at Disco Bizarre are excited about the final results and are happy we‘re able to share it with you.

INDUSTROLLUTION: The lethal audio toxin of rhythmic machinery.




Drivetrain (Detroit, USA)
“Spin The Record”
Functional, purposeful and guaranteed to ignite any dance floor; put the needle on the record and wait for the climatic twist.

Jay Strata (Glasgow, Scotland)
“Heart Strings”
Drenched in rich, creamy chords, the seduction of a deep, melodic rapture, effortlessly takes control.

Teknobrat (Ottawa, Canada)
“Acid Barnako”
With elements known and beyond integrating in acid oscillation, the magnetic chorus refrain pushes the frequecy spectrum.

DJ Mourad (Tunis, Tunisia)
“Illegal Alien”
A mysteriously abstract high-tech warning signal clouds the atmosphere while the unforgiving thunder-pulse clears the air.

Clash of the electro titans! An amazing collaboration between label supremo DJ Controlled Weirdness and serial electro abuser The Dexorcist

This Jensen Interceptor classic is finally getting it's due on wax and reinforcements have been called in with remixes from The Advent & Zein Ferreira, DJ Godfather, Exzakt BFX & Salome.