Cerca:the earl

Two gypsies with pedigree backgrounds in Flamenco got together with a drum machine in a studio during the early 80's and the result was Chipen, a somewhat poppy chart oriented project featuring Peret Reyes the grandson of legendary Catalan Gitano musician Peret (aka "El Rey de la Rumba") and Johnny Tarradellas. "Volao" is a mid tempo effort to bridge Pop and Rumba, mixing catchy funk guitar riffs with elements of Flamenco in unprecedented ways. "Chiribiri" sounds like it could be the theme song to a Catalan morning show or even a Japanese 80's Toyota Camry ad, reeks of stereotype and cliche, except that Chipen is the real deal, as real as the darkness of the hair dye on the cover photo. Extended version of Volao on the B side. Remastered at Manmade Mastering in Berlin.

Welcome to ‘Hardcore Heaven III’, the third in Scuba's series of classic hardcore-inflected vinyl EPs further develops the themes, from acid house to jungle, established on the first two installments.

Hardcore Heaven III ups the tempo from the first two EPs, with a focus on early Jungle on ‘Truth’ and ‘Give Up Everything’. Meanwhile, ‘Riding Hi’ and ‘Pocket Rocket’ add a 4/4 kick and samples possibly best described as… borderline?

Scuba has also announced D:U:LIVE, a series of live shows inspired by his acclaimed ‘Digital Underground’ mixtape and ‘Hardcore Heaven’ vinyl EPs from last year.

THE TWO CLASSIC AND HIGHLY COLLECTABLE INEVITABLE SINGES PLUS RELATED PEEL SESSION RECORDINGS. CAPTURING THE FIRST TWO YEARS OF DEAD OR ALIVE’S CAREER. ON BERRY-RED VINYL! A SEQUEL AND COMPANION RELEASE TO 2023’S CRITICALLY AND COMMERCIALLY SUCCESSFUL ‘LET THEM DRAG MY SOUL AWAY’.


Having been ‘discovered’ working in Liverpool’s Probe Records during the punk rock explosion of the late 1970s, Pete Burns quickly found himself fronting his very own band, Nightmares In Wax, who quickly mutated into the more familiar Dead Or Alive.

A star was born. But prior to pop superstardom, tabloid-tantalising celebrity and his later revival and recognition as an icon of gay punk and pop culture, Pete led Dead Or Alive into far darker waters, as one of the earliest explorers of the post-punk Goth scene.

Captured on two remarkable 7” singles originally released on Liverpool label Inevitable, the band also caught the attention of the
ever-reliable John Peel, and recorded material for his seminal BBC Radio One programme. ‘Running Wild’ compiles those early
singles and related Peel Session highlights, bringing the latter to vinyl for the first time. Pressed on berry red vinyl,and housed in
a cover photograph by Dead Or Alive’s then manager Francesco Mellina, ‘Running Wild presents an early glimpse at the
phenomenon Pete would become, and a long overdue back story accompaniment for fans and collectors alike.

Okain returns to Talman Records with a four-track EP, offering a glimpse into his two-decade journey as a producer. Continuing his legacy of providing DJs with robust dance floor material, this EP stays true to form.

Opening the EP is "Wake Up," a tribute to early 2000s tech house, featuring crisp percussion, sharp stabs, and haunting vocals. Following is "Take Me Up," capturing the essence of UK garage with its thick Reese bassline and distinct vocal hooks.

Turning to the flip side, the EP ventures into darker realms with "Secret Science," blending dub-inspired synths with a weighty sub bass, perfect for late-night atmospheres. Closing the journey is "Swing Theory," a groove-driven track fusing minimal house elements into its infectious rhythm.

Plafond continues, taking center stage after the mother label BAKK ceded. Here, two long-time collaborators, Ekolali, originating from Sweden, and Tala Drum Corps, from the Netherlands, await their returns. The former reappears with a characteristic approach earlier heard on 'Doggerland'. The latter did multiple dance releases yet now debuts for this series, expanding on his stylistic spectrum. Despite shared tempo, the energies of the track are each of their own. Pulsating with energetic urgency, Ekolali, towards hypnotic movement, Tala Drum Corps. 'Totem Mollusca' shoots for the sun, like a budding landscape, yellow rays, waterdrops - kraut-inspired yet club-like without seeking a climax. 'tokyo subway' has a marimba-ridden, timeless approach - a clock-ticking, crude atmosphere, as a dream long passed, slowly ascending. Known for its two-sided, two-songs approach, Plafond offers two artists or artist combinations the freeform room for exploration and elongation of their respective sound and practices. This is the eighth in the series.

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

Returning to Damian Lazarus’ renowned label for their seventh EP on the label, the Gruuv bosses showcase the latest evolution of their rich and diverse sound, with the dancefloor-driven quartet of hot cuts!

From their early beginnings between Ibiza and their hometown of Leeds to a near twenty-year-long career that has taken them from Space (Ibiza) to Womb (Tokyo), fabric (London) to Zouk (Singapore), UK duo Audiojack have remained and continue to prove themselves as both ever-present dancefloor hit makers, but artists that have helped carry the UK’s evolving house sound. From their initial releases on Leftroom and 2020vision through to their Crosstown Rebels debut in 2016, and then fast-forwarding to recent music on Solid Grooves, Knee Deep In Sound and their own Gruuv imprint, the pair’s unwavering passion for fresh sounds continues to burn bright. Now regulars on Damian Lazarus’ iconic imprint, serving up five EPs, numerous remixes, and their 2021 album ‘Surface Tension’ on the label to date, the end of May welcomes the duo’s latest chapter on Crosstown with their latest EP, ‘Play With My Mind’.

The skippy and vibrant ‘Play With My Mind’ opens the package with an abundance of nostalgia, channelling 90s sonics via the infectious organ melody and hooky vocals at its core, while ‘Casual Verve’ is trippy and loose while delivering a slice of driving funk to the mix. Next, ‘Connect’ provides a vocal-led, garage-dipped cut that keeps the energy levels sizzling before ‘Delirium’ closes the show with a swathe of pure dancefloor ecstasy.

DJ Support: Mark Knight, CJ Mackintosh, Mousse T, Dr Packer, Eric Kupper, Lenny Fontana, Ricky Morrison, Laurent Garnier & many more.

Michael Gray’s star has been firmly in the ascendant in recent years, with a string of chart-topping, floor-filling productions and remixes under his belt. The excitement is therefore palpable for his soon come album Optimism, which sees Michael pour both his heart and his three decades + of experience into what will be one of THE albums of the year.

'This album has been a year and a half in the making,' states the ‘Weekend’ hitmaker and one half of legendary disco house pioneers Full Intention, clearly now keen to release his career-defining magnum opus out into the world.

In these confused and often frightening times, we need musical communion more than ever. Only too aware of this, Michael has 'set out to make an album full of positivity.' Needless to say, the resulting 'hybrid of classic disco mixed with modern disco and soul' hits the spot and looks set to provide a soulful summer soundtrack to lift spirits and fill dancefloors.

In an era of often generic, over-computerised sounds, Michael returns to the source of his lifelong musical inspirations. 'Most of these productions have involved working with live strings and horns,' he enthuses. The musicians include live drums by Derrick Mckenzie from Jamiroquai, percussion by Russ Tarley from Incognito and string arranger Stephen Hussey, known for his work on Soul II Soul’s early hits.

Michael’s much-needed musical missives for the ages are masterful manna from the heavens. Things just got optimistic.

This album consists of unreleased Dubs recorded between 1986-90 at the early Blakamix Studios.

Blakamix have re-opened the tape vaults and let Mixman loose to revamp and revitalise and give the Dub Doctor treatment to these early Dub tapes.

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand.

Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

LTD Color Repress


After a completely sold out first release by Tom Carruthers and Mario Liberti. TCR. is back with one of the secret weapons inside many DJ bags. Heavily supported by Ricardo Villalobos, Tini, Anthea, Arapu, Alexandra, Velasco, Liquid Earth, Bill Patrick, Josh Baker, Lis Sarroca and many others TCR.002 by ‘Unknown Artist’ has been played on some of the top dance-floors around Europe.

The whole EP is a tribute to an Ibizan band from the late eighties and early nineties.

Extremely limited copies, don’t sleep on this one and remember… Pon, Ponte Bien, Pon Selo, Pon Pin Pon, Pon Amor, El Party Que No Pare.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

Repress!

The release of Crosstown Rebels’ SPIRITS compilation is always a bastion moment for the label. The first edition came to prominence in 2017 and we’ve been graced with an annual compilation ever since, showcasing a consistent habit to champion established artists and breakthrough ones alike. Now, Crosstown Rebels’ lauded SPIRITS series will see the light of day once more in June, with the release of SPIRITS V.

NYC-native Layla Benitez leads proceedings with Fides, a progressive-leaning, introspective number that retains an inherent danceability throughout. It kicks off the compilation with a driving energy, one that’s perfectly matched by Trabajar - the Crosstown Rebels debut of recent Hot Creations inductee Mr.Diamond.

A techy-inspired cut, punchy four-four drum patterns create a distinctive late-night feel, as UK-talent Denney soon arrives with Kill The Soundboy. Showcasing the groove-laced house sound with which he’s become best known, the near seven-minute piece is sure to light up many a club setting this year, paving the way for Talk To Me. It’s a collaborative venture between Munich-based artist ASK:ME and El Muerto, with Soulfoot featuring on vocals. Retaining a vintage Detroit style, the fast-paced tempo creates a natural excitement before Romanian-born mainstay GruuvElement’s gifts us the minimal-toned Boom Room.

Building with tribal-like percussion and salsa-inspired instrumentals, it’s a playful excursion into dance music’s outer realms, paving the way for young Peruvian producer Chinonegro with My Moment. Whether it be the pluck of a guitar string or a jazzy trumpet solo, there’s an inherent authenticity to the six-minute piece, as a mid-track breakdown gives way to whispering hats and a rhythmic underlying backbone.

The penultimate offering comes from French-born, London-based regular Maglia, who serves up the enchanting Rayiys. The chirping of birds resides atop an ever-changing bassline, leaving us open and ready for the VA’s closing saga: Thanks Moon, by Spain’s I AM JAS. A heady combination of beautiful lyrical contributions combines with softly moving electronic elements, to leave us in a state of calm, inward reflection. Rounding off proceedings on a note of quietude, it reminds us of the final moments in clubland, transporting our psyche to sunrise, fond memories and everything in between.

Over a period of nineteen years, Damian Lazarus’ Crosstown Rebels has evolved into a world-renowned institution, garnering global audiences thanks to a consistent schedule of quality releases. In years since it’s earliest beginnings, the likes of Maceo Plex, Art Department, Seth Troxler, Ali Love, Mathew Jonson, Pier Bucci, Acid Pauli, Dennis Kurtel, Francesca Lombardo, Glimpse, Aphrohead, Fur Coat and a plethora of other figureheads have all found their home on the label.

The roster is international, showcasing how Crosstown has shaped a truly global scene. Releases are born in different continents by artists who hail from different countries, resulting in a sound that resonates worldwide. Perhaps most pivotal to the label’s success is its musical output: no part is governed by boundary or genre. It’s underpinned by a truly eclectic sound, one that reflects the diversity of Damian’s love for music itself. An album from drum and bass icon DJ Krust here, a maiden LP from Audiojack there… traversing genres has been Damian’s forte for decades - and Crosstown epitomises that as a result.

“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.”

‘Didgeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire.

“I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.”

Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.”

‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

‘Digeridoo’ (Expanded Edition) by Aphex Twin is available on R&S Records from 31st May 2024.

Singer, songwriter and producer Johnny Burgos returns with veteran producer Jeremy Page (Kendra Morris, Czarface, MF Doom) for "Hit Me Like," the
instrumental is dripping with retro soul nostalgia, serving up the drums and bass-forward and funky, under
a blanket of buttery guitar chords. The production carries Burgos' silky smooth and heartfelt delivery
effortlessly, offering a brilliant take on a timeless-sounding, soul-inspired love song.

Singer, songwriter, and producer Johnny Burgos returns with

veteran soul producer, Jeremy Page, (Kendra Morris, Czarface, MF Doom, That Handsome

Devil) for "Get Back." The fourth single off of the duo's upcoming album titled, 'All I Ever Wonder,' is a vulnerable retrospective of a love gone cold, with hopes of rekindling the

magic that once kept its flame alive. In true Neo Soul form, the song is driven heavily by the

drum and bass groove, distinctly reminiscent of an early 2000's J Dilla beat. Page's signature

colorful chords evoke the struggle in Burgos' story, as he confronts his inability to accept the fate

of his relationship and let go of the magic it once embodied.

Johnny Burgos is a Brooklyn - born singer, songwriter, producer & engineer. His brand of retro-soul embodies a

raw uncompromising sound revealing beauty from pain, hope from despair, and the will to keep fighting.

Influenced by his uncle and world-class percussionist, Andre Martinez, growing up Johnny developed a

fascination with the percussive rhythms of salsa and soul music, eventually manifesting into a devoted passion

for hip-hop production using an Akai MPC. With influences from Michael Jackson, OutKast, J Dilla, Lauryn Hill

and D'Angelo, Johnny's music draws upon the core principles of R&B, while encompassing elements of

hip-hop, funk, pop, salsa, and reggae. Collaborations include artists such as DJ Skizz, Mobb Deep & M.O.P.,

Marco Polo, Frans Mernick, and Liza Colby (The Gold Setting) and his band Bridge City Hustle, with whom he

toured nationally.

As a solo artist Johnny debuted with back-to-back brand endorsements from French's Mustard and Samsung

US, using them as a platform to launch his 2018 EP Love Through it All. In March 2021 his debut album Gone

Into The Grey received critical acclaim and has since been added to multiple editorial playlists by Spotify, Apple

Music and Tidal, resulting in an ever-growing listening fan base. In 2022, Burgos' song "Wild About You" was

then used as the soundtrack for Neiman Marcus' It's Your Moment global streaming campaign.

At its best, Bristol's scene has been marked out by the artists with an independent spirit. Not just the self-reliant DIY approach to getting the music out there, but a unique, inventive slant on emergent sounds which feed into the city's storied reputation. Flynn & Flora embody that idea, having come up in the nascent Bristol jungle scene while offering something wholly different to their peers in fabled crews like Full Cycle and More Rockers.

The duo were absolutely connected to the wider community, but they followed their own path, and the records reflect that. They're not as widely name checked as the likes of Roni Size, Krust, or Smith & Mighty, but their legacy is just as rich with personality and flair, offering that indefinable twist which sets West Country rhythms apart from the sounds in London or elsewhere. City Road wanted to recognise that fact with a modest 12" which cherry picks four crucial early cuts from Flynn & Flora's archives, before they went on to produce three LPs and a series of 12"s up to the mid 00s.

"We knew as much as anyone else at that particular time," recalls Flynn. "Samples, hip-hop breaks, bass lines. You've got your synth, your drum machine. It's all you needed. So that's what we did."

This month we have three beautifully pressed mostly unreleased Ike Noble 45s with o.g style silver Ink overprinted labels, they look just

On side A we have the only previously released (but very rare) track on these three 45s. A brilliant, mid-tempo soul chugger that falls between Syl Johnson and James Brown, undeniable, how this did not blow up at the time is beyond comprehension.

On the flip, it is Deep Soul time again with a version of 'Best of Luck to You', also recorded by Sam baker and Earl Gaines, but easily toping both.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.