Buscar:the green man

For house heads of a certain persuasion, DJ Duke is a name that resonates for all the right reasons. The U.S. veteran has been responsible for some of the 90's most seminal moments, chiefly through tracks such as '12 Minutes to Do It' (under his Pleasure Dome alias), 'Party Time' and the Prosumer-endorsed deep house classic, 'Heard'. He returns here courtesy of emerging imprint Solo Werks, who host his latest EP, 'Green Pastures'. A momentous house-led workout, it compounds Duke's reputation as a producer of considerable panache while also acting as an auspicious start to life for the Dublin based label.

The title track is a grainy, old-school cut that bears all the hallmarks of a dusty analogue-jam and harks back to the days of vintage Chicago with the sort of zest you'd expect from a man of Duke's credentials. The other original, 'Skyscapes', is packed to the brim with industrial motifs and is characterised by the sort of effortlessly catchy baseline with which Duke has made his name. Mysterious and ethereal, it takes the listener on an uncompromising and throughly captivating house journey from the off.

On the flip side, we have two stunning remixes, the first of which arrives from New Jersey don, Ruben Candelario AKA Nicuri. A long-time favourite of NYC-based producers a la Joey Anderson, Nicuri turns 'Green Pastures' into a dreamy, acid-led space, adding layers of suspense and a glittering vocal intto the mix as he goes. Last but not least are Dublin-based producers Slowburn, who serve up a stunning version of "Skyscapes". A carefully construed voyage into the deep, it caps off a fine EP with some aplomb.

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Muscle and Mind is the return of Oscar Mulero to long plays, after Grey fades to Green and Black Propaganda. 'Muscle' and 'mind' may seem antagonistic terms in real life, but in terms of music they make sense together, especially when talking about techno.

The coalition of introspection and abstraction is not incompatible with the rough and the percussive, and this
album is a good example of this. The underlying message behind the title refers to the reflection of mental states in the body, the genesis of emotions where body and mind are managed by the sense of hearing.

Throughout these twelve tracks, one can dive into the musical world of this producer whose discourse mutates in every album, always intricate, always meticulous. Darkness acts as a thread and repetition as hypnotic therapy. But now, he sets his usual hard sound aside and looks for a much more cared for and precise sound , where there is room even for a harmony and musicality that go hand in hand with danceability.

The combination of atmospheres and rhythms is constant throughout the album. Each of the cuts has been prepared with few sonic elements. He takes elements away one by one, and keeps exclusively the necessary.

A record that has been developed during endless hours in airports and travelling, absorbing influences from all over the planet. Made in solitude but surrounded by people who don't know what you are really doing on that computer. To close the circle, the album was mixed in professional studio using solid state technology, which gives this work a unique warmth that cannot be achieved in a domestic environment.

Muscle and Mind will be released on vinyl and CD. The digital version will include extra tracks which will also be published in an EP. This will precede the album with edited tracks from the album and remixes by Stanislav Tolkachev and SHXCXCHCXSH.

Muscle and Mind is the return of Oscar Mulero to long plays, after Grey fades to Green and Black Propaganda. 'Muscle' and 'mind' may seem antagonistic terms in real life, but in terms of music they make sense together, especially when talking about techno.

The coalition of introspection and abstraction is not incompatible with the rough and the percussive, and this
album is a good example of this. The underlying message behind the title refers to the reflection of mental states in the body, the genesis of emotions where body and mind are managed by the sense of hearing.

Throughout these twelve tracks, one can dive into the musical world of this producer whose discourse mutates in every album, always intricate, always meticulous. Darkness acts as a thread and repetition as hypnotic therapy. But now, he sets his usual hard sound aside and looks for a much more cared for and precise sound , where there is room even for a harmony and musicality that go hand in hand with danceability.

The combination of atmospheres and rhythms is constant throughout the album. Each of the cuts has been prepared with few sonic elements. He takes elements away one by one, and keeps exclusively the necessary.

A record that has been developed during endless hours in airports and travelling, absorbing influences from all over the planet. Made in solitude but surrounded by people who don't know what you are really doing on that computer. To close the circle, the album was mixed in professional studio using solid state technology, which gives this work a unique warmth that cannot be achieved in a domestic environment.

Muscle and Mind will be released on vinyl and CD. The digital version will include extra tracks which will also be published in an EP. This will precede the album with edited tracks from the album and remixes by Stanislav Tolkachev and SHXCXCHCXSH.

A leading figure and respected elder in the Teklife family, Traxman has waited patientlywhile releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world. Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles. A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions. Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition.

Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music. Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.

Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.

Second album from one of the most popular artists on
Berlin's fine Project Mooncircle label!
Late night music from the back seat. 'Are You Anywhere', sophomore album from Tokyo based UK native submerse blends early 90's slow-jams and instrumental hip hop wrapped in smooth DX7 keys hybridized with his own unique sound. 'Are You Anywhere' is the second full length release from submerse on Project: Mooncircle with features from fellow Tokyo based
beat maker fitz ambro$e. Are You Anywhere' comes out worldwide on limited green colored vinyl (including download code).

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

You could be forgiven for thinking Basso's been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That's right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth' from James Booth.
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Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.

Emerging from the watery depths of the Drexciyan ocean, opener ‚Mood' strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle's rainforest. Drifting freely
through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as ‚Dream Precipitation' offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing ‚You' with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. ‚Dhoop Stick' stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before ‚The Chorus' brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!
(words by Patrick Ryder)

On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it's a cultural exchange that's born of London's current musical climate. Released on Gilles Peterson's Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London's Tomorrow's Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it's a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica, reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

Zara's breakthrough 2012 track, a jazz cover of Junior Murvin's 'Police and Thieves', provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean's 'Peace Begins Within', she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos' Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like 'Fussin' and Fightin'' and 'Freedom Chain', combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener 'Ode To Kumina' touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara's deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

Similarly, 'Silhouette' arose from that same research, in this case, however, it was about how records and documents often get lost in Jamaica. It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,' she explains. Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.' Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings.
Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

For Zara, Jamaica's musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it's the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area, be it in shops or bars, each of the small local shacks would have a sound system where they'd play music through the day and evening.

From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,' she says. So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.'

Belgium 'Popcorn' borrows its name from the 1969 James Brown LP, The Popcorn, which also became the moniker for the Popcorn Club in Vrasene, Flanders which, in its heyday, attracted 3,000 youths to its Sunday sessions. It was DJ Gilbert Govaert who pioneered the sound, blending blues, soul, jazz, latin, doo-wop and high-school pop in a unique melting pot that appealed to dancers seeking that chugging cha-cha beat.
Our POPCORN SOUL PARTY carries on the tradition with many tracks culled from the original playlists and others, such as the incredibly elusive Willie J Charles Feelin' Kinda Lonesome' which has become popular in more recent times.
This unique set will appeal to Popcorn oldies fans, new breed Northern Soul fans and R&B collectors alike. Look out for new-to-vinyl reissues courtesy of Ki Ki Page and Chance Halladay!
The Party Continues...

Underground Jazz, Street Funk & The Roots Of Rap 1968-79. Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.

The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.

Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.

The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.

Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.

Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show. Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.

Last volume of this compilation series, again a great one.., Holding amazing tunes from across the globe that you probably already have been looking for.... TIP!!
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Over the last five years and as many volumes of their Beach Diggin' compilations, Guts and Mambo have explored the reefs of five continents, dredged the sea beds of countless seas and oceans, examined every single seashell with the aim of making sure that no vinyl pearl should escape their notice.

Tunisian reggae, Japanese disco, West Indian jazz-funk, the duo's aesthetic dribbling skills would stop the savviest Brazilian football player dead in his tracks, and it was with this in mind that they proceeded to select their discoveries. With a marked preference for meditative free-diving rather than tour package scuba diving, and isolated spots rather than massively overdeveloped beachfronts.
For this latest instalment of their adventures, Guts and Mambo have organised another expedition around the world, to salute the spots where for the last five years they have uncovered rare specimens, saving some of them from total extinction, while shining a light on others that amply deserved it.

Though each Beach Diggin' compilation can be listened to independently of the others, the five together now form a kind of navigational chart signalling with its green flags the places where, in Africa, Europe, Asia, America, and the South Pacific, they gambolled on sandy beaches, avoiding the well-trodden path, becoming more and more demanding with each passing year.
Beach diggin' is a state of mind...

* 15 brand new and exclusive cuts from some of their favourite producers, alongside another 13 tracks that have been the soundtrack to your clubbing experience their nights. If you have been to any of their nights in the last few months then you may well have heard these being road tested.

* Highlights include the Spectrasoul remix of LSB's 'Rollings Sideways' and the sublime Vanguard Project rework of BCee's 'Lost & Found'.
* Support from High Contrast, LTJ Bukem, Fabio, London Elektricity, Rockwell, Etherwood, Technimatic and a whole load more...

Following his acclaimed collaboration on Strut with The Heliocentrics, the Father of Ethio jazz presents his brand new studio album, 'Mulatu Steps Ahead' for 2010! The album explores new directions in fusions of Western jazz with Ethiopian modes, moving forward the pioneering sound Mulatu developed during the '60s and '70s, showcased on the recent Strut compilation 'New York * Addis * London'.

For the new album, tracks were recorded with members of Either/Orchestra in Boston, with contributions by traditional Ethiopian musicians in Addis, members of The Heliocentrics and some of the UK's leading jazz and African players during the final sessions in London in November 2009.

Each track on the album tells its own story. The reflective, opener, Radcliffe, was composed specifically for the Radcliffe Institute during Mulatu's time lecturing at Harvard in Boston - the original score is now framed on the wall there. The Way To Nice was written and arranged on the tour bus during Mulatu's recent French dates - "with this track, you are travelling on a long journey, talking and thinking" explains Mulatu. "It was inspired by the many beautiful places on the coast road around Nice." Assosa adapts traditional music from the Assosa tribes in North-Western Ethiopia and Mulatu's Mood re-works a Mulatu jazz fusion composition from the early '90s into a new swinging Afro highlife arrangement. "I wanted to use West African styles within this version and try new ways of using the beautiful sound of the kora." Boogaloo and I Faram Gami I Faram reprise Mulatu classics with new, fuller scores and bonus digital track Derashe highlights the traditional diminishing scales of the Derashe people of Southern Ethiopia, a musical technique that would later feature in the classical compositions of Debussy and the jazz of Charlie Parker. "Many debate how this music developed but the Derashe have played these scales for centuries. It is an untold story."

De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He's released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.

While Beau was visiting Brussels he stopped by Maoupa's house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.'Crepes' is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.

All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.

Bonobo veröffentlicht den lang erwarteten Longplayer-Nachfolger auf seine Erfolgalben Black Sands & The North Borders inklusive Vocal-Features von Chet Faker, Rhye & Hundred Waters!

Simon Green, alias Bonobo, kehrt mit seinem sechsten Album zurück, dem meisterlichen, gebieterischen "Migration" - ein Werk mit dem er sich ein für alle Mal an der Spitze der elektronischen Musik verortet. In abwechselnden Zügen opulent, manisch, wunderschön, melancholisch, freudig, voller Emotion und technischer Fertigkeit, ist dies womöglich sein bislang ehrgeizigster Versuch, die grundlegende Beschaffenheit menschlicher Existenz und deren ausgedehnte Dynamik zu erfassen. Neben Zeitgenossen wie Four Tet, Jon Hopkins oder Caribou, zählen Wiz Khalifa, Skrillex, Disclosure oder Warpaint zu Bonobos prominentesten Fans. Sein 2013er Album "The North Borders" erreichte im UK die Top 30 und katapultierte sich auf Platz #1 der elektronischen Charts, sowohl in den USA als auch im UK. Im Zuge dessen spielte sein 12-köpfiges Kollektiv weltweit über 175 Konzerte, darunter zwei ausverkaufte Shows im Sydney Opera House, ein ganztägiges Festival im Londoner Roundhouse, eine ausverkaufte Show im Londoner Alexandra Palace sowie einige renommierte Festival-Slots. Inzwischen verfügt Bonobo rund um den Globus über eine umfangreiche, loyale und engagierte Fanbase. Mehr als eine halbe Million verkaufte Alben und über 150 Millionen Spotify-Streams gehen auf sein Konto und verdeutlichen den Erfolg, den sich dieser ruhige, bescheidene Mann erarbeitet hat. Dank "Migration" wird seine wunderschön raffinierte und gefühlsgeladene Musik in Kürze ein noch größeres Publikum erreichen. Das zutiefst Persönliche kann schließlich ebenso gut allgemein gültig sein.

Bristol based Afro-beat band, Matuki are releasing their debut 7 single on December 2nd via Stutter & Twitch, featuring an exclusive remix by Shunya. As each side of the record paints a juxtaposing image, Matuki drives forward as they make a name for themselves as Bristol's most engaging afro-funk band. Side A 'Sanimenteren' showcases fiery horn melodies and liquid guitar riffs, whereas Side B 'INJO' changes direction completely, as Manchester producer Shunya takes the reins. By morphing Matuki's steadfast rhythm into a lucid downtempo glitch, Shunya creates a unique and mesmerizing new perspective towards the urban band's signature style. Likened to the legends Fela Kuti and Afro Manding the authentic Afro band punctured Bristol's music scene after an exceptional debut performance at Glastonbury's Glade Stage, blending jazz & psychedelic influences with urban-funk. The result Mesmerizing tracks and heavyweight horn lines that reflect on how the 12-piece collective are never afraid to venture out of their comfort zone, to create something special.Turbo-boosted grooves and fusing Afro Manding with intoxicating Fela Kuti horn lines, Matuki creates a rhythm so deep and hypnotic, it takes you on a journey' - Rhythm Passport'Matuki mix the classic ingredients - brass, beats, vocals and electricity - into something suitably hot'n'spicy..., If Bristol's Afrobeat scene gets any hotter we might as well move to Lagos' - Canteen Bristol. Fronted by master drummer and vocalist, Abraham Ebou Sanyang (Savanna, Magoma), Matuki mixes traditional afro-beat sounds with heavy doses of contemporary urban funk, into an exciting concoction of world music. The ensemble recently expanded after merging their sound with the Bristol Jazz Student ensemble Jamba Horns, and has previously collaborated with an array of versatile musicians including the Bristol Samba community. After the success of their debut performance, Matuki saw airplay from Bristol based DJ Hiphoppapotamus, and Miles Chambers of Lyrical Minded as well as BCFM, Bristol City Radio, Radio Ujima and Radio Helsinki, as an energizing sound bled into the airwaves. Touring the UK festival circuit, performing at Secret Garden Party, Green Man, Farmfest, Kendal Calling, Glastonbury to name a few, saw Matuki turn unassuming audiences into dancing frenzies, wherever they play.

Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.