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Mighty DNAonDNA (Heteroerotic Asphyxiation, Oiwa) manufactures STRICTLY STRICTLY's magical 3rd release and offers nothing than power, power, power: Erratic opener THE//GRIND pushes you into the flow with restless UK-ish breaks before HAIFA slaps you hard with its violent rhythm and epic bassline. DON'T MOVE on the B-side chases you with its 145bpm acid breaks to finally eject you struggling for breath. A dangerous adventure!

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 4 Help Me (Save Me From Myself) [Instrumental]

You just can't keep a man like Carlton Jumel Smith down. This time around we get another soulful K.O. from his debut album in the form of "Love Our Love Affair", a mid-tempo groover drawn from that sweet well of southern soul.

One of the fortes of Carlton's "1634 Lexington Ave." LP is that it flows along as an entity but also revels in the strengths of its individual parts. This fourth single brings out another stylistic strain from Carlton and Cold Diamond & Mink's repertoire. After the tight intro and the vibraphone licks have set the scene there are twists and turns plus some classy action from Jukka Eskola on trumpet, did we mention the instrumental on the flip side?

This single might be just the thing you needed to jump start the morning or blast in your Sunday evening radio show.

Hammered Hulls are a brand new band from Washington D.C. made up of some very old connections.
Mary Timony (bass) and Alec MacKaye (vocals) grew up in the same Washington neighborhood and have spent the better part of their lives in each other’s somewhat distant orbit. Always aware of each other, but never able to play together.
Mark Cisneros (Guitar) has been in D.C. for more than a decade. He cut his teeth in Los Angeles listening to both Mary and Alec’s bands, but also a healthy dose of free jazz and garage. He is the man who plays every- thing with everyone, but this is his band.
Hammered Hulls are rounded out by Chris Wilson (drums), a monstrous drummer with no shortage of love for all three of his bandmates. Every person in this band is a fan of every other person in this band. Mutual respect drives this train. But to say they are an odd collection of influences is to understate the point. If you tried you couldn’t imagine what this band might sound like.
This single was recorded and mixed in a single day at Inner Ear studios, appropriate home to everyone in the DC scene.
mark Cisneros - guitar Alec macKaye - vocals mary Timony - bass Chris Wilson - drums

The must have DJ tool is back for a third chapter

Label boss Pete OntheCorner has dipped into his secret stash of firelighters from around the globe.

On the Corner’s backroom and basement workout ‘Versus’ is brimming with heat and is once again the essential tool for discerning DJs.

The very latest productions, new signees, dubs and remixes bring a future taste of the action On the Corner. This uncompromising and unrivalled collection brings the label’s global family together on wax.

Versus III features tracks from Dengue Dengue Dengue, Khalab, Penya, Planet Battagon, Blood, Wine or Honey, James Stewart and the uncompromising street sounds of Mnanda from Dar es Salaam. Flexing their remix might for this 12”: Nicola Cruz, Mahgreban, Hieroglyphic Being and Sarathy Korwar goin’ in live.

There are some familiar faces occupying this tasty wax and some new comers.
Get your atlases out again as OtC criss-crosses the globe introducing you to artists from afar-afield as Dar es Saalam, Chicago, Hong Kong, Lyon, South London, Peru and Rome.

Daughter of the mighty George Kerr, Sandy set the scene alight in ’82 with the explosive classic, ‘Thug Rock’. Badass slap basslines, zapping synths, ethereal pads and Sandy’s iconic rap were a timeless recipe of pure ‘80s, boogie-infused power that’s blasted from many a boombox, sung on all manner of club systems and sound tracked endless open road cruises over the years.

Released on the South Carolina label Catawba Records, two prolific duos blessed ‘Thug Rock’ alongside Sandy and co. Her father, who produced for the likes of Alice Clark and The O’Jays and Sugarhill wizard, Reggie Griffin, headed up the production and arrangement, with ever-dependable M&M aka John Morales & Sergio Munzibai taking the reins on the mix. Their combined talents can be heard in the tangible weight of the track, each element getting the space it deserves to facilitate that crystal-clear clout - from the huge bass riffs and sublime keys, to the punchy drums and Kerr’s infectious rap. An earworm if ever there was one!

Take to the flip to find the much in-demand dub version, echoing out choice snippets of Sandy’s rap to focus in more on that killer boogie-funk groove. Original copies are tough to come by in the UK, so an official reissue will be music to many an ear.

Masks is New York duo comprised of Max Ravitz aka Patricia (L.I.E.S, Opal Tapes, Ghostly) and Alexis Georgopoulos aka Arp (RVNG Intl, Mexican Summer, DFA, Smalltown Supersound). The aptly titled EP2 is (yes, you guessed it!) their second release, preceded by their Opal Tapes debut Food Plus Drug (II) — which gained support from Legowelt, Mount Kimbie and Boomkat — and a compilation appearance on esteemed Beats In Space 15 year anniversary 3xLP.

On paper, it might strike one as a strange duo. Ravitz’s work leans heavily on house and techno, but his recent work has been focused towards emotive melodies of IDM. And Georgopoulos has been busy creating minimalistic classical music for RVNG and most recently made waves with his critically-acclaimed album Zebra, which combined elements of 4th World and cosmic jazz.

All the tracks making up EP2 were made as live performances. No overdubs. Nothing "in the box". Just classic hardware and a strong vibe.

Opener "In This Room" is the sound of a NY summer sunset, pivoting on a hypnotic rotation of orange-hued chords. "Emotional Response" displays a different side of the group. Combining a 909 with a piano tug, it could provide that perfect soundtrack to a cathartic cry on the dancefloor.

On the flip side, "In Another Room" is dreamy techno par excellence, before sliding into an acid chugg for the ages. Bookworms smears the sun of "In This Room" into a 4am whirl, all purple lights and mountains of fog.

The cover artwork features the artwork of Sanou Oumar, a recent emigrant from Burkina Faso, West Africa. He graduated from the University of Ouagadougou in 2007 and moved to the United States to seek asylum in 2015. He currently lives in the Bronx and works in Harlem, New York. In 2018, Oumar had his first two-person exhibition (with Matt Paweski) at Gordon Robichaux in New York, and in 2019 (with Elisabeth Kley) at South Willard in Los Angeles, curated by Matt Connors.

Franc Spangler makes a welcome and long overdue return to Delusions with a mighty-fine three tracker packed with the good stuff. The throbbing bump of the title track with it’s bouncing square-wave bassline and drifting stabs leads the charge, crunchy hats driving along the groove whilst a cut up vocal ratchets up the energy.

Flipping over we have Somewhere Else, a much deeper and jazzier affair based around a repeating four bar horn part. Never straying too far from the dance floor, Franc keeps things percussive and dynamic whilst conjuring up a moment of musical bliss, chiming synths dripping down like golden rays of sunshine on the densely textured orchestral layers.

Closing off the release, Dreamworld takes us by the hand on a tropical excursion, low slung beats punctuated by echoing xylophone riffs and Apito whistle. Dubby atmospherics and warm Juno106 chords give the track a Balearic mood perfect for the summer months ahead.

Lee ‘Scratch’ Perry’s return to his most spaced-out work, that marks his 2002 comeback album Jamaican E.T. The extra-terrestrial is back with some groovy reggae which creates a bridge between dub, roots and hip hop. But in the end it never ventures to far away from the traditional reggae. The album continues in showing his fascination with aliens, drugs and religion. His own voice is often multi-layered and contrasting with each other. It’s a wonderful record and it shows that even after all those years he was still capable in recording an album which stands out during the time of release.

Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Jamaican E.T. is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

“In October 2018 we took several recordings in and around Eddie Prévost’s home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie’s own take on Locke that he offered in our correspondences:

“Scholars of Locke’s philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such ‘mixing’ is a persuasive description of a creative act. But the theory is more worthy of a social dimension.” As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its ‘metamusical’ relationship with the untempered sounds of the external environment.

Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike ‘protomusical’ behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development.

Ross Lambert provided a few words along side his cover drawing entitled ‘The Metamusician’: “The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.””

- Daniel Kordik & Edward Lucas, March 2019

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

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

Enzo Elia – one who knows how to conceive Italo driven audible passion with the machines that surround him. His releases on cult labels Compost, Free Range and Black Pearls Records have long spoken to us here at KOMPAKT.

We welcome this summer heater which is “Gilli 88 EP”. A tribute to the 80s phenomenon…THE PANINARO. Without any ideological basis or connection to a particular lifestyle THE PANINARO was based around fashion imagery and luxurious clothing. Enzo found this translatable to today’s social network dynamics and is prime for the retrofuturistic dancefloors of today that are inspired by the golden days of Italo-Disco.

“Low Red” is a Italo-Pop gem conceived with Quique Aldebaran and Quique on vocals that takes inspiration from the legends that were – the mighty Suicide. An instrumental version dives deeper into the groove for DJ play persuasion. “Aj Squinza” takes a classic 80’s disco approach with sound-scaping synths that endlessly jam with an everchanging rhythm. “Volpinata” succumbs to a classic EBM groove that finds its way out of focus due to fat synth melodies that engorge this elevating track.

Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades.
While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

Jerome Derradji & Past Due Records are proud to present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a DLP / CD with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. As a companion to the compilation we are also reissuing the incredibly rare and sought after “Head Games” 7” with a picture sleeve.

This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time.

Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

Wanubalé – nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. This band sets out to define their own, highly danceable version of Jazz, Neo Soul and Funk.

The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair, everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili.

Wanubalé's instrumental debut album was recorded by Axel Reinemer in Berlin's Jazzanova Studio in 2018. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote and Nubiyan Twist. But Wanubalé do their own thing, having produced and arranged the album. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, might brass sounds and great melodies.

Detailed, smart, commanding, groovy. These are just a few words to describe the Assorted Pieces 2 compilation. This strictly in-house production by Friendship & Decadence contains tracks from such producers as Kade, Mirage Man, Poly Sone and Waltteri. Which is a intriguing mixture indeed.

Poly Sone’s “Home killing is taping music” is a rugged and fast paced take on nordic techno. As the track was recorded on a four track cassette recorder the saturation on this cut is immense, yet pleasant. Definitely not your everyday cheapo lo-fi tune.

Deep, quirky and playful bottom heavy roller, “Calm” by Waltteri has a hint of spanish roast in its blend. Waltteri’s debut on the imprint can be perfectly paired with a fun loving crowd during midnight or even around early mornings. Psychedelic multipurpose tool.

Kade’s raw and unconventional track “Sanko” is a treat for the adventurous mind. Haunting arpeggios and vocal chops will give you the creeps, while the unrefined saturated rhythms will sooth you into a trance. Eccentric and hypnotic dance music.

“This track never starts” by Mirage Man lives by its name as it is a slowly unraveling and cinematic number. Regardless of its thick lower end, in the club environment this track might send the restless to acquire a beverage from the bar, but for the grounded minds who enjoy ambient this just might be the ticket. Play it yourself and see what happens.

Limited press of 150 pcs. 12” record includes a download code.

I grew up fascinated with the music played late at night on the radio.
As a kid, when times were tough and I couldn't get myself to sleep, I would tune the radio to my favourite FM station and dream on.
This was back in the late 80's and lasted until the mid 90's, a time when I was getting hooked by Hall & Oates, Loose Ends, Maze, S.O.S. Band, Soul II Soul, and other artists that used to rule the dial in the wee hours.
So this music didn't only comfort and nurture me at the time, it also shaped my music personality.

When Renata approached me in order to work on the first ever compilation for Hello Sailor, I knew the selection would end up reflecting this side of me. It had to come from the heart.
It also had to bring to the table something different than what's already associated with Brazilian music, and exploring our own take on the street soul genre sounded good.
It was never done before and it's also faithful to Brazil's musical heritage.

Back in the 80's and into the 90's, it was very common at parties to have a slow dance moment in between the more uptempo sections. A timeout from all the frantic dancing, when people could cool off and flirt in a more romantic way. (It does sound like a great idea to have this intimate just-the-two-of-us moment in the middle of a party; maybe it explains the number of marriages at that time.)
This is a tradition that goes back to the black music balls in the late 70's, which helps to explain why the majority of the early rap acts from Brazil used to have a couple of romantic songs in their albums. When you add to this recipe the power of the mellow pop acts during the aforementioned period, one can realise why it extended its tentacles to deeper depths of pop music in Brazil.

This compilation features some of my favourite music ever, songs that I've crossed paths with in different moments of my life.
Fernanda Abreu, for instance, is a longtime crush - I have been in love with her music since the mid 80's when she used to sing in a band called Blitz, which my mom loved.
Afrodite Se Quiser, on the other hand, created some buzz while the group was active with the minor hit "O Que Que Ela Tem Que Eu Nao Tenho", from their first album (1987), but I didn't know about "Fora de Mim" until 2015. My point is: even if it took me 25 years to find this track, I had a reserved spot in my brain for it and it laid there perfectly as if it innately belonged there.
It's a built memory, and I love playing with this idea when presenting music to people.

Street Soul Brasil is part mellow pop, part R&B, part rap.
One can surely feel a lot of street energy from the B Side. The music reflects the influence of international pop at the time, but it also shows how Brazilians are talented in making any sound their own!

This compilation is supposed to be a mixed collection of songs, something that might trigger the feeling of flipping through an old photo book full of tender memories. These are songs that should speak straight to the heart, music to comfort and heal, music that deals with joy and pain, feelings that I always liked being transmitted through music.
It's among the best forms of therapy. It worked for me and I hope it works for you...

The NMB Allstars have been part of the SKAM family for nearly twenty years. Initially as DJs then as producers, they beguiled us with their dub-informed rhythms and caustic beats. When they first put their Bug EP together at the back end of 2001, we discussed what might come next – a plan for five 12” EPs before an album, not realising it would take fifteen eighteen years to get to number five... but, here it is, the 5th of 5, NMB005 the GazOhmEater EP.
The pattern of releases has played with titles and logos of UK nationalised industries – Bolton8 (002) referenced Altern-8 and the Greater Manchester Passenger Transport Executive, NWH20 (003) North West Water. and Mancweb (004) drew on Manweb, a local electricity provider. For this final EP Acid and Gas are the go-to aesthetic narcotics. Along the way the 12” series had guest appearances from Meam, Made and Pendle Coven, part of the NMB extended crew.
These days neither of the two founder members locate themselves in urban situations, preferring to retreat to the hills spending hours on the moors of the Pennines. Even these landscapes are punctuated by infrastructure,
be it pylons, reservoirs or tunnels, and the resonant hums, filtered through peat bog and horizontal rain can be sensed in these new tracks put together slowly over the last seven years. NMB stated from the beginning that their “output was not controlled by time” - how right they were.... They have said the album should be ready in 2028.

Powering out across the open highways, House Of Disco, stick it in 5th gear for their 23rd outing that see’s the return of the mighty Fouk. Four funked up, disco house jams that are drenched in undeniable grooves, ‘80s synth gold and tight percussive touches.

The A side houses ‘Release The Kraken’ with it's pitch bent synthwork, juicy basslines and emphatic vocal touches from Thumpasaurus. Next up the signature Fouk sound is bottled up on ‘Night Shift’, marrying sweltering synths with hazy Rhodes, beefy bass and infectious drums.

Flip it over to find the walking bass badness and acid infused melodies of ‘Gloriole’, with ‘Arrakis’, a strutting summertime guitar-led jam full of choice chants, ‘80s fuzzy keys and bongo loops, taking the closing spot - the perfect way to round off this huge House Of Disco release.

LP Beatuful Ambient/LIstening ALbum by EVEN BRENDEN from Norway. Following his debut ‘Auto’, Chmmr delivers a new collection of musics to inspire half an hour of your life. The sophomore album features (in order of appearance): Prefab naiveness. Idle saturdays in early fall. Inaccurate weather reports. Lead arias for courtship. A planet. Romantic stage pianos. An ode. Post LAN party mood. All in all a fitting backdrop for any function that’s about opening yourself up, be that in solitude or in good company. This record is meant as an imperative to the listener: Try new things. You may regret it. It might backfire. Do it anyway