Buscar:the top c

After S3A's 'Deep Love' contribution last year we are stoked to present you this great collection of music! Coming from the French underground S3A aka Max Fader is absolutely no stranger to the scene. With releases on Local Talk, Quartet Series and his own 'Sampling As An Art records' he is deeply rooted in House, Hip Hop, Disco, Soul and Funk serving residencies at Paris clubs 'Concrete' and 'REX' he has become a local favourite as well with his DJ and Live sets. We are more than excited to release this special debut album that showcases some older and recent work, with live acoustic songs from early 2017 recorded at the Paris 'Red Bull Music' studios to new sample based House and Disco infused tracks in the signature 'S3A' style we got to love so much in recent years. 'Fever", 'Friends, 'Joint No. 5 and 'Greed' are all funk fuelled jams composed by Max, re-played and recorded again in several live jams with fellow musicians Nicolas Taite, Raphael Vallade and Pierre Vadon and edited in the studio by S3A afterwards, they breath this special Soul and Funk love Max got into by listening to 'Masters at Work' and old Disco jams. The latter 'Greed' has a special story, it is a cover of an early 'Laurent Garnier' track that got reworked by 'Avril' in the early 00's, here Max wanted to present his own Jazz and Funk perspective on that same track. The club stompers 'First Day With Lucien", 'Lockwood", 'Clarence J. Boddicker' and 'Leaving 19th' are the true party business on this album and range from Deep House to more classic edit style Disco tracks with live improvisations played on top of them.

Presenting 'Fire Zone'. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.

The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in 'business parks, strip malls', in 'blue collar luxury'. On a diet of 'diner burgers'. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.

The album continues to reference Zane's Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.

There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps But Ai welcomes you to 'San Fernando Valley', and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.

Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks. (text: Robert Harris)

Quintessentials has a long history in putting out those nice little (or sometimes big...) compilations. It was 'deep, raw and real". Then 'thank you freaks". After that 'gentlemen cuts". Now it's 'enjoy your cuppa"! Vol. 1 starts with 4 new and refreshing faces on Quintessentials. Marc Bianco is for sure no newcomer, as he's a part of the famous Moonrise Hill Material crew with Folamour and other top french producers. 'Wet Scott' is a smooth yet freaky tune with tight beats in a best MB manner. For german Effgee, 'feels like ding' is his first track ever released. Happy lad! And we're sure it won't be the last. Italian air man Wearing Shoes is quite new to the scene, but has a quite impressive list of releases already. For Quintessentials, he teams up with...well yeah, Javonntte (check his two Quintessentials releases, 59 and 61). Proper house music guaranteed! Last but not least, Roy Vision (another french artist who just released on Roots for Bloom) goes deep and dusty, with lovely Rhodes and snares! We hope you enjoy your cuppa!

Echocord sub-label Echo Echo returns with its first release of 2019 this May, coming courtesy of son.sine with his ‘Variable States’ EP. Leyton Glen aka son.sine is a relatively new name to most having only released a handlful of EP’s to date, initially in 2000 he released ‘Upekah’ via the Nurture imprint before Delsin recognized its timeless quality and re-issued it in 2013, a testament to Glen’s sole work. Here though we see Echo Echo mark a return for son.sine with a new EP of original material, his first in four years. The thirteen minute ‘Uncertainty’ opens, driven by hazy atmospherics, pulsing acid bass tones and murky sub bass while glitched out percussion subtly carries the cinematic groove. ‘Evident Topology’ follows, taking a more robust approach with jittery low-end chops, expansive dub chords and an amalgamation of emotive strings and jazzy bass licks ebbing and flowing within. ‘Three Linear Decay’ then rounds out the package via skippy organic drums, ethereal pad swells and metallic bleeps.

(Limited edition of 300 copies on clear & black marbled vinyl with full printed sleeve and textured coloured printed insert)

This is the 1st vinyl release on a quiet RIOT, an independent electronic music label based in Scotland.

Following his Interferenza cassette for Osiris Music, Berlin-based sound artist Adam Winchester returns with a new body of work that sees him embracing ever more forthright rhythms while adhering to his established lines of sonic enquiry.

With roots in the Bristol dubstep scene and a long-standing partnership with Christopher Jarman in Dot Product, Winchester has spent the past few years investigating alternative methods of sound generation that deal in hidden electromagnetic frequencies and spectral tones found lurking in circuitry. Bringing these extremities back to a more structured focus, Muutto is a highly personal work that captures the period of transition as he moved from Bristol to Berlin.

While the finely sculpted tonality and artful distortion of his recent work is plain to hear throughout, Muutto is also grounded in arrangement and melody, weaving a tangible narrative that pivots around steely rhythmic architecture, nodding to his roots in club music without expressing anything explicitly 'dancefloor.' Even at its most physical, as on the weighted march of 'Hold,' the emphasis is on atmosphere and mood, no matter how heavy the drums fall. In the distant murmurs of pads and poignant vocal threads, the bittersweet emotional backdrop to the record comes through in abundance.

There's space afforded for the more avant-garde tendencies in Winchester's music too. 'Metaphors' is caked in guttural feedback that comes on like a particularly noisy Albini studio session strapped to a chassis of the swampiest blues rock lurch you're likely to hear all year.

In its needlepoint detail, broad scope of sound palettes and potent expression, Muutto is an accomplished offering, but more significant is the way these facets are bound together by immediacy and form that transcend the freeform experimentation many of Winchester's traits are drawn from.

'a quiet RIOT' is an electronic music label based in Livingston, Scotland orchestrated by Nomad and is the sub-label of the highly renowned 'RIOT Radio Records.'

Since 20th February 2015, Nomad has run his own very successful fortnightly internet techno radio show called the "RIOT Radio Show.' Each show has a resident warm up set then a further hour with a wicked guest, the majority of whom are among the world's top electronic artists. The show gets thousands of listeners on each transmission with every set recorded exclusively for it. You will not hear them anywhere else.

A hoard of very well-known and simply stunning acts always feature on the show along with a whole host of very talented local music makers.

This was the build up to the record label being launched in April 2016 that will show-case major acts and amazing local talent.

Margino (real name Kim Kallie) is a South African artist. She recorded her first song
at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She
sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and
later did backing vocals for Future and others. She first shot to fame as a solo star
with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as
Cathy Hudson), which was released at the same time as Madonna's version.
Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My
Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She
now runs a Performance Academy from her studio, and continues to perform on
stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy
People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm
Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'',
''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk
(Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full
album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original
tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art
style, for your eyes pleasure.

The now legendary turntablism festival 'National Phonographic' has been hosting some of the most prominent turntable wizards in between 2001-2005. The X-Ecutioners, Cutmaster Swift, Kid Koala, Grazzhoppa, the list goes on and on. Equally as legendary are the National Phonographic 'Turntablist Tackle' vinyl releases. They've been used during DJ battles and sampled by leading producers worldwide. Now, 16 years after the latest record, 'Tackle 3' will be released! Top notch producers Eni-Less, Mike Redman and DJ Optimus created an amazing tool for turntablists and producers alike. This volume, pressed on 7inch limited edition colored vinyl, contains exclusive sounds, phrases and beats. The record also includes a voucher with a unique download code. We're safe to say that 'Turntablist Tackle 3' is the best volume yet!

After a gap of a few years in between his latest releases (on Terminal M among others) Mar io focuses his attention on his own productions rather than sticking to remixes. He unveils a wonderful EP on Form & Terra Records which kicks off with the title track "Through The Night", a very special acid house smasher which will put every dance floor to a test. Then comes Max Cavalerra who puts the track through some secret alchemical processing and turns it into a dark and more techno-driven tune which is sure to make mind and body move even at 6 am in the morning. In addition, techno legend Patrick Lindsey celebrates his brilliant vinyl comeback with an irresistibly grooving remix which demands your attention with unprecedented drive and gets to the heart of Mar io´s original message "This Is What We're Living For". Last but not least, Mar io himself tops off this extraordinarily versatile EP with a grooving vinyl-only remix.

For the label to finally reach its 20th catalogue number is a seminal moment. To reach it with the original logo designer for Encrypted Audio and all round top gent is an even greater honour.

Mesck has a slew of releases on friends and family labels such as Chestplate & Crucial Recordings but with this release we wanted to create the feeling that no side was an A. Knowing Zach's style he did not let us down.

As we are referring to this release The Double Header..... 'Locust March' testament to the commanding way Mesck uses percussion and synth tones in a controlled fashion to create anticipation in the way they are used. In a track dominated and driven by a raw sub and mid punch combination that Mesck knows all so well. Joined by the equally amazing 'Fugazi'... There is no other way to describe this piece of art than EPIC.

Elisabeta. Just hearing her name puts a grin on her face.

Originally released on Polychrome Sounds, "Elisabeta, the remixes" features a remaster of the original by Karpov not Kasparov and three truly unique and magnificent remixes.

The first one is Carrot Green, who gave the original the Brazilian Ritmo-treatment, with extra acid on top for a spicy touch. On the second remix, Belgian mastermind Strapontin created a smooth grooving tension-builder, slow rolling to a deep and beautiful introverted climax. Lastly, Pletnev took the atmosphere of the original and gave it a trippy ethnic-break beat twist, as only the Vilnius producer can do so well.

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

Quavius, the deep south vagabond known for his raw and sophisticated dance collages returns to Lustwerk Music with his second EP for the label, Find Ready. While mostly an instrumental affair, Find Ready is an updated glimpse into the producer / rapper's latest repertoire, ranging from the sunny, Baltimore club-influenced house of "Flo Central" to funky Motor City workouts like "Heaven Is In You" and "Find Ready". The EP starts off on a high clip with a nostalgic, forward-driving deep house instrumental, "That Beat." Quavius dons the mic on three of the seven tracks. "The Gist", the EPs cornerstone, sounds something like a Rakim-meets-Sensate Focus. The A and B side are each topped off with downtempo Hip-hop. "Let it Rock" and "Fa Sho" are contemporary updates on cloud rap that bleed atmosphere and confidence while revealing Quavius' knack for tight songwriting and arrangement.

The material featured on this EP was recorded in Berlin over the course of a legendary week-long exploit, the kind you read about at the movies. The music is a marriage of dark synth hooks and atmospheric sound design resulting from extensive Berghain-monitored brain damage. It is very fortunate that both artists were wearing their Twin Turbo friendship bracelets at the time or they may have never even gotten past the door. In terms of raw intelligence, the top one percent of those reading of this will have picked up on the cues that these tracks are techno. The rest have nothing to feel bad about. Our hope is that both communities can work out their cognitive differences on the dance floor every night for the rest of their lives. Our business model depends on it.

In the early eighties Level 42 started out as a jazz-funk fusion band in the United Kingdom, formed by Mark King and the Gould brothers (Phil and Rowland). During the Brit Funk era, they met up with Mike Lindup and Wally Badarou (who would become a fifth member in all but name) and recorded their first single Love Meeting Love'. Their follow-up Love Games' cracked the UK Top 40 and had success in Europe. What followed was a string of minor hits with The Sun Goes Down (Living It Up), Hot Water' but the big breakthrough was with Something About You' in 1985. The single was Level 42's first American hit, and would do well on both sides of the Ocean. The band carried on delivering hits through their funky, jazzy songs with finger popping good grooves and infectious rhythms. During the following years up until today, Level
42 are recording records and continue to tour the world, although in a slightly different line-up.
The Collected double vinyl album contains a selection of their songs from the earlier years of Starchild' up until Tracie' and Take A Look'. These tracks, specially remastered for vinyl, are exciting, standing the test of time, delivered by a timeless band.

In January 1985 The Beloved emerged via a John Peel session (Produced by a very young Mark Radcliffe). They had a second session broadcast in October and didn't release their first single, A Hundred Words, until early 1986.
On the independent Flim Flam label they released a further 3 singles/eps , later compiled as an album, Where It Is.
By autumn 1987 they had slimmed down from 4-piece to the original founding duo of Jon Marsh & Steve Waddington.
Jon went to NY to pursue some label interest, meet some heroes - Mantronik, Latin Rascals.
& came back with a record box full of early house cuts. Within weeks he was tipped off by a friend about a semi-secret party in a gymnasium in Bermondsey. He went searching and found Shoom.
Having already shared the record box with Steve he took him to the club within a few weeks, knowing full well he would be equally enthused/entranced!
Having just been signed to WEA , notionally as a poster-fodder pop group, the band experienced a seismic shift in direction. Their first attempt , Acid Love, was on promo 12' within months. Their second house track was Your Love Takes Me Higher, first released in early 1989 with great club support but zero radio play.
The third was Sun Rising, late summer that year which became their first hit single.
The album, Happiness, a distillation of the fun & optimism & energy of the 88/89 (acid) house scene was released in 1990 to great acclaim and YLTMH even got a second release and just scraped into the top 40 at #39!
A remix album, Blissed Out, was released In autumn 1990, with a new recording It's Alright Now as a single.
Awoke is the most complete track from their last collaborative sessions.
Jon continued recording as The Beloved with his wife Helena as co-writer/co-producer.
Their first release in early 1993 was the single Sweet Harmony which was a major hit record worldwide.
Both single and the accompanying album Conscience were their biggest selling releases.
A further album X, with the single Satellite arrived in 1996.
A re-released Sun Rising and a best-of, Single File in 1997.
Then silence.
Remixes as The Beloved, several releases under different names (on Junior Boys Own, & NRK), and a full time dj career until 2005/6.
Still silence.
'I can't split up with myself so i think of it as hibernation' says Jon.
Until now. Music that is both old & new.

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

Three incredible reimaginations of Nina Simone classics from Francois K, Tony Humphries and Coldcut each with their own unique touch and trademark style weaved within.

Francois K kicks off with a sublime deep house rework of 'Here Comes The Sun'. Reminiscent of Larry Heard's output, Francois nods to Mr Fingers with a bassline that harks back to those early Chicago classics, coupled with deft mbira touches that create an other-worldy feel to the remix. Celestial waves and singing rides mix with a buzzing top line melody that lay the foundations for Simone's spiritual voice to hang in the air with a perpetual elegance and grace. A timeless slice of house music that earned Francois' version a spot on one of Innervisions acclaimed 'Secret Weapons' compilations.

Next up, Zanzibar royalty Tony Humphries lays out a bumping remix of 'Turn Me On' turning the bluesy soul leanings of the original on their head and flipping it into an uplifting summertime groover. Simone's words take on a different tone with this revitalising rework backed by staccato guitars and chopped up vocal melodies that give a playful yet soulful character to this slab of sunshine.

Rounding off the EP in classic Coldcut style, the duo meld 'Save Me' into a chopped, screwed and crunched remix. Lo-fi percussive elements and distorted textures blend with glitching samples and stuttering sequences that turn Simone into a tripped-out goddess. An atmospheric piece of electronica but with a harden edge purpose made for the dancefloor.

The KBCS are:

Lucas Kochbeck - Drums

Nicolas Börger - Keyboards

Lars Coelln - Guitars

Daniel Stritzke - Bass

The KBCS were born in the northern hemisphere under the zodiac sign of snowman. They sound like Föhr and nicely topped pizza, tight as thinly folded pizza boxes and with drums dry as flour that would nearly make you cough. But hotter. Laughing is part of their ritual to get into the zone. Even though some of them prefer Ph without coriander, they still won't order it online because of plastic waste.

The moon shone happily while they recorded their spiced up cinematic, funky & atmospheric lowdown grooves album.And since the polar star was missing, they headed for Venus instead. Luckily, they didn't keep it four-dimensional but had old friend and funk head Mr Flo Mega himself on keys and good vibes - things got really wicked from there. Few people were present and those who were are not entirely sure how it all happened or where it began. Some people say it was Roy, others blame it on the sauna. Fact is that the session took its own course and most people were smiling during the recordings.

Nobody knew then about the flamingo on the cover or why the bird at least looks like one. Hailing from Hamburg, Germany the KBCS not only love to record but also play around Europe. Be sure to welcome them with a Ph in your city and they will surely return the favor by taking you on a ride utilizing a special horse: the (space) funk lama.

DeFeKT and Sunil Sharpe deliver the next Tinfoil record, this time handing over the reins to Rebekah, Drvg Cvltvre, stranger and Sync 24 to remix selected tracks from their 'On A Roll' album. Heavyweight remakes from four producers at the top of their game. Do not miss!

The first Redskins re-issue for many years, this is a 4-track celebration of their 1985 Top 40 hit, 'Bring It Down! (This Insane Thing!)'. Featuring their distinctive hybrid of rock and soul complete with their signature brass section and their unmistakeable 'call to arms' socialist sensibility.

Ronnie McNeir has been associated with Expansion for over 30 years through his own Setting Sun label. Now on 7' for the first time in the UK Expansion bring something special for Record Store Day, 500 hand numbered copies of the 1981 Detroit soul single 'My Baby'. An original copy will set you back £100 and these limited edition RSD pressings will become sought after too. 'Hold On' comes from the 1989 Expansion album 'Life & Love', and is released for the first time here on 7' single. Ronnie currently tours as a member of The Four Tops and is back to perform a rare solo concert in June 2019 as part of this year's Blackpool International Soul Festival.

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Broke EP is the 6th release on the Deep & Roll imprint, and their
first various release. The vinyl is Electro/Breaks oriented and
features producers from all Europe.
On the A side, the rising Sicilian producer Clafrica - based in
Edinburgh - delivers 2 top notch bangers, that your mums will def
move their heads on. On the B side, the established Parisian
producer KM3 associates with Rob C. Trax and gets out of his
comfort zone, offering a Rave gem that might blow your speakers.
The B2 rounds off the vibe of this EP with acid flavors: the German
producer Colkin composed this track while living in Paris. Def a wax
to have on your shelves!

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

Mancunian Hidden Spheres has showcased himself as one of the most innovative producers out there, releasing across the likes of Lobster Theremin, Rhythm Section International and his own imprint Fruit Merchant, all of which have been the perfect outlets for his inspiring blend of house and jazz. Church now features as the latest addition, who continue their stellar discography with 'Words Can't Explain', a collaborative EP which sees Hidden Spheres alongside singer-songwriter and guitarist, Oscar Jerome.

The collection begins with the original mix, lowering you into slick jazz guitar licks and echoing vocals, before Hidden Spheres provides a tight groove to lock around the melodies in fine form. The hybrid creation of jazz meets house binds perfectly as warm keys hang effortlessly in the air and popping guitar lines carry you onwards, supporting the sublime vocal from Oscar.

The dub version opens up room for the guitar licks and synth top lines to take centre stage, a real opportunity to marvel at the arrangement here.

On the flip is Yu Su's rework who ups the tempo and dims the lights for a punchier rework.. The half way point welcomes a percussive led break before the hats return and pick up the groove once again, closing the 'Words Can't Explain' EP in style.

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This follow-up single surrounding the Continuidad album boasts the dirty little secret Bailemix of album track Recife—we wont go as far as uttering the 'T' word, but this is unbridled merciless tops-off festival gear for the massive. The flipside is another exclusive non-album cut Cuatro Meses De Verano, a rhythmic build-up that breaks into a low-slung funky stomper, Tobar's idea of a warm-up weapon.

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

In 1986 iconic group The Future Sound of London released the UK Top 40 chart album 'Dead Cities', from which came a track 'Yage'. Such has been the interest in this masterpiece of electronica over the years that the guys have been back into the studio to revisit it.

Here, on this limited edition, individually numbered LP press exclusively for 2019's Record Store Day comes the results. 'Yage 2019' takes the core of the original and rebuilds it. All together there are eleven tracks reconstructions and interpretations, woven together (as FSOL do) into a 42 minute dreamscape journey across the 2 sides of vinyl. Only 1000 copies of this release will be pressed on vinyl.

Rooted in Swedish psychedelic folk music, Hanna Ostergren (Hills, Trad Gras och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Ostergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Hoga Nord Rekords now releases her debut album.

Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, 'Agnetero / Huset' Ostergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system.

Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret.

Marco Spaventi and MOS label head Aroy Dee link up for another of their intriguing collaborations. They have done so before on this label back in 2012, and their latest offers another vital mix of raw house and ambient. Opener 'The Way We Love' features typically rough, blistered drums and sci-fi synths, but this time with a heavenly vocal and uplifting chords up top that tug on your heart strings. An ambient reprise of the same track is a perfect excuse to kick back and get lost in your own thoughts. 'The Way We Move' then takes a long view, with far-gazing Detroit pads and mid tempo drums getting you deep into a dreamy groove that is wide open and expansive. Last of all, Marco remixes this one on his own and flips it into something that is even more melodic, with circling pads and a musical bassline all making for a beautiful piece of timeless house music.

Second release comes from label head Traxman and legendary Fast Eddie!
As goodie on top of this great ep there is the track called "Eddie's House" which was recorded in 1987.
It's now for the first time on vinyl!

The man, the myth, the legend that is Aldo Vanucci is back with a small black disc of wax for the ages. Yes, it's the very same individual who supplies samples to Fatboy Slim, who was voted Plymouths 14th best DJ and who has undertaken marathon 36 hour DJ sets for charity. Exactly. Yes it's that Aldo Vanucci...

With a vast back catalogue of releases already to his name on respected indie labels including Tru Thoughts, Catskills, Good Groove and his own Good Living Records he has established himself as one of the producers you can trust when it comes to quality.

And this release ahead of his forthcoming album on Jalapeno Records is no exception. The soulful strutter - 'Ponderosa' could have been extracted from a Tarantino movie taking a Morricone-esque score sample and flipping it into a modern slice of driving pop. The powerful top line from Dena Deadly adds some colourful imagery to enhancing the already cinematic sounds.

Flipside 'Knew You Were Coming' fuses an 80's disco boogie groove with a memorable top line that really shows off Mr. Vanucci's DJ credentials. It's a club bomb with enough power to detonate any dancefloor.

With "Being Water" Lali Puna refine their distinctive take on pop and electronics, pushing the boundaries towards classical songwriting. The four songs - equally affecting and catchy as self-reflected and aloof - are complemented by the airy tripiness of a remix by Dave DK (Kompakt, Pampa Records).

Although singer Valerie Trebeljahr wrote "Being Water" mostly by herself, being backed by bandmates Christian Heiß and Christoph Brandner, she rejects the idea of authorship: "Nothing comes out of myself. I'm a sampler: I write music because I listen to music. And I write lyrics because I read". Accordingly, topics and references of "Being Water" vary quite widely: "Who's That Genius" pays tribute to Virginia Woolf and Madonna - and questions why the term 'genius' is still connoted primarily with maleness. The title track refers to the famous Bruce Lee quote "Be formless, shapeless, like water" - but here it is turned upside down: It was Hito Steyerl's video work "Liquidity Inc." that got Valerie's attention, re-reading the quote as a neoliberal paradigm. In contrast, a title like "For Only Love" might sound a little naive as Valerie claims - but: "It surely won't be hate that will save us all". The lyrics were written after watching Obaidah Zytoons and Andreas Dalsgaards documentary "The War Show".

"Diversity is queen" - this goes for the music as well. While the dreamy pop of "Who's That Genius" or the catchy guitar loops of "Being Water" are in the same vein of Lali Puna's earlier albums, the free-floating piano chords and tricky rhythm patterns of "Beatx" in some ways mark new territory as Valerie explains: "I am very proud of this song because it is so fiddly. I thought that was something reserved for men".

Production duo Computa Games take the most slamming synth bass, the crispest drum machine hits, and the overall classic vibes of 80's dance-funk tunes to new aural heights. Sculpted using the best modern studio techniques, the 'Cosmic Dispatch' EP fuses funk, disco, soul and electro to various combinations, fitting the feel of the classiest nightclub or the grittiest backyard party. Each individual tune on the EP pairs with a unique vocalist or collaborator, as the project features guests Lovechild, B Bravo, Jackie Rain, NATALITA, and E. Live. There is something killer and personalized on this EP for every type of dancer, funkster, and headnodder around.

The Computa Games project is the product of the combined efforts of Martin Arceneaux and Chris Arenas. Joining their deep roots of live funk, electronic/live production and DJing, they formed in the fall of 2012, and quickly released two singles on the Supermart Produce label. The two debuted their live set at Monarch in San Francisco, with follow up performances at SXSW in Austin, and Tipitina's New Orleans. The group's third single "Rock Creek (Revenge)" was released exclusively on Beatport, where it was a featured track on the site's Funk/R&B page and stayed in the Funk/R&B Top100 for nearly 2 months, peaking in the top15. The group then released the "Grand Design" EP in September 2013 on Super Mart Records, followed quickly by a remix of The Pendletons single "Let Me Turn You On" featuring K-Maxx, and then a remix of New Orleans based funk band Galactic's "Heart Of Steel', featuring the legendary Irma Thomas. In October of 2015 Computa Games released their first vinyl 7' on ABC records with 'Do Your Thing' featuring K-Maxx b/w 'Feel Right 2Nite' which promptly established them in the burgeoning modern funk scene. Their follow up 7' was released in January 2017 with the single 'Computer Rock' b/w 'Computer Rock (West Coast Remix) on the New Orleans label Super Jock Records. Computer Rock garnered the duo more accolades with critics and fans alike.

'For the 9th Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He's involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer's Album The Book Room. Kilchhofer uses his main instrument - the modular synth - in a more electroacoustic manner, where he derives and processes voltages from Anklin's playing.

The album title describes the fascinating idea (yet impossible reality) of a perpetual motion - where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin's live drumming influences delicate feedback patches on Kilchhofer's synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument.

A fluid concept of time where the Rhythmic Pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.

Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an "ur-klang'; a primordial, ancestral music.'

German producer, DJ and label-owner Phonk D, who has risen fast to stardom in 2018, is back once again on NDYD Records with his sequel-release Disco Goodies Pt.2, an outstanding four-tracker that should instantly do the trick to boost his career even further.
From Talking Vintage, an quite energetic floor-filler with a feel-good sound thanks to the percussions that will last in your memory for some time, to Gettin Down, a homage to the French 70s on the southern shores of the Cote dAzur, the charismatic producer keeps the level at the very top of the game. The b-side complements the funky ride with the pumping disco-sensation Can Do It while Disco Africana, with its lovely afro disco-touch rounds up the picture of the 30th release on the emerging German label from the city of Frankfurt.

Special Remarks: 1 colored pink LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Pop Life" was released in 1991. It is the only album released which features Jacquie O"Sullivan who replaced Siobhan Faley in Bananarama upon her departure in 1988
The album includes the singles: "Preacher Man", "Long Train Running", "Only Your Love", "Tripping On Your Love".
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

1 colored white LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Please Yourself" was released in 1993 by London Music Stream and is the first album which features the band as a duo. The album includes the singles: "Movin On", "Last Thing On My Mind", "More, More, More"
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

Chicago-based Matt Warren has been a DJ for forty years and has been a producer since 1984, when he released his debut single Rock The Nation. This inspired Matt to cofound Sunset Records in 1985, which released several house classics. However, in 1987, Matt resigned from Sunset Records and founded AKA Dance Music.

The first single that AKA Dance Music released was Bang The Box, which sold over 50,000 copies in America and nowadays, is regarded as the first hard house track. Bang The Box was the first of seven singles that AKA Dance Music released between 1987 and 1988. By then, Matt's second label was part the history of house music.

After the demise of AKA Dance Music, Matt Warren continued to travel the world DJ in some of the top clubs. Meanwhile, Matt continued to produce new music, remix tracks by some of the biggest names in music.

By the nineties, Matt was also writing, arranging, mixing, and producing a wide variety of artists and bands. He sometimes was asked to play on a number of albums. However, he still loved house music, and worked on several releases.

As the new millennia dawned, Matt continued to work in a variety of roles in the ever-changing music industry, and occasionally released some new music. Over the next few years, Matt has been working as a producer, engineer and remixer, which meant he had to put his own career on hold, until he began working with a familiar face.

In 2016, Matt was reunited with house diva Pepper Gomez, who was now running her own label Wake Up! Music. By then, Pepper Gomez had dawned the MyMy Lady G moniker and embarked upon a career as producer. She had travelled to Chicago, to record Elena Andujar's genre-meting album Flamenco In Time at Matt's Sound Studio Recording. Matt took charge of engineering, programming, mixing and production on Flamenco In Time while MyMy Lady G added backing vocals and assumed the role of executive producer on this groundbreaking project. After the completion of Flamenco In Time, MyMy Lady G asked Matt Warren if he would like to record an album

It didn't take long for Matt to answer in the affirmative, and in early 2018, he hit the comeback trail. He was accompanied by a group of talented musicians and vocalists including gospel singer and soulful diva Jan McGhee, Elena Andujar and legendary house diva Pepper Gomez who plays a starring role on the album. That album was recorded over the course of several months, and eventually became Music Is My Life which marks the comeback of Mark Warren.

Matt Warren has been away to long, now one of the pioneers of Chicago House makes a welcome return with a groundbreaking new album. This is Music Is My Life, the first ever Nu House album, which is guaranteed to transform Matt Warren's career and become part of dance music history.

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world
That's what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge's "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
He says himself: 'Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record'

'When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.'

Esencia is proud to present Forgotten Ones, the new album from London based quintet Culross Close. The album opens with 'Fractured', a cosmic musing carried delicately by electric piano and decorated with a synthesized dalliance. The album then cruises into 'Forgotten Ones', a spiritual made potent by their choral-esque vocals by far their most accomplished piece to date.

'Acceptance' finds the quintet in familiar hip-hop territory, carving out a top tier groove with a recurring piano motif of the highest order. Their vocals, this time more chant than choral makes for a brilliant 5-minute mantra.

'Mood' is a stark contrast to anything else on the album, an acidic and rugged illustration of the group's present state. 'The Tiniest Lights Still Shine' is a syncopated excursion in 5/4 time. With an electrifying percussion solo, this will be the song that finds its way onto the dance-floor. 'Healing' is a percussion heavy journey, draped in synthesizers and style, embodying elements of 70's fusion and bossa-nova, a perfect closer to the album.

1 x LP Full Colour Sleeve, shrinkwrapped

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

Patrick Topping has announced that he will be launching his own record label, TRICK , a home for Patrick to exhibit his versatility as a producer, as well as a platform to showcase the wealth of the emerging talent which he has been pushing in his DJ sets.

Packed with three original tracks from Patrick, the EP-titled 'Watch What Ya Doing ' comes with the launch of his label TRICK and as a much anticipated follow up to the late 2017 Hot Creations smash 'Be Sharp Say Nowt', which continued to dominate throughout 2018. A year which proved another hugely successful one for the UK producer who was called on for the remix duties for Calvin Harris and added Music Radar 's ' Best House Producer/DJ 2018' ' and his third DJ Award for Tech House Artist to his list of accolade that include his DJ Mag ' Best of British ' award and reaching number 11 in Resident Advisor 's 2016 top DJs poll.

This debut release on TRICK showcases a change in sound from the acclaimed artist and an evolution of Patrick 's ever-maturing style. The British DJ displays a new style as a producer, one which has always been a part of his genre-hopping DJ sets, but for the first time as a producer, Patrick delivered an EP packed with darker techno undertones and raw influences.

The imprint's launch follows the British producer's sell-out headline shows at Manchester Academy, two consecutive nights Dublin's District 8, London institution fabric, his very own takeover at The Warehouse Project and as far as Melbourne's huge Shed 14 . Entering a refined and developed chapter of his career, the announcement follows Patrick' s Boxing Day set at Digital, Newcastle , the last ever party in his acclaimed Motion event series, with the UK producer looking to support and nurture emerging talent in future via the launch of ' TRICK.'

Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on 'Death Becomes Her' she shifts things up to another level.
Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world.

Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars.
On 'Death Becomes Her', Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

In January of 1980 Joy Division kicked off a tour of The Netherlands, Belgium, and Germany with a show at the legendary Paradiso Club in Amsterdam. Little did anyone know that in less than 6 months, Ian Curtis would be dead, and the brief, brilliant run of the group would be over. This is a particularly heavy and deep set, with the band performing at their angular best, and Curtis in top form vocally. Essential live broadcast for any fan of Joy Division.

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

- Daniel O'Donnell's recording career has now spanned almost 35 years and he continues to delight fans around the world by his
recording and touring activities.
- Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2018, he broke his own world record, by
becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 31 consecutive years.
- During his career, in the United Kingdom Daniel has amassed thirty-seven Top 40 albums, including sixteen Top 10 albums, with
fourteen of them this Century, a feat not achieved by any other recording Artist.
- 'The Gold Collection' is a heavyweight 180g Gold-colour vinyl LP, featuring duets with his long-term singing partner Mary Duff his best
known hits, including twelve Top 40 hits, in this 16-track set.

Genre: Electronic, World (Arabic). 180gram vinyl includes 12'x24' art print poster + 320kbps DL card. RIYL: Matar Mohammad, Pauline Oliveros, Nadah El Shazly, Lucrecia Dalt, Chino Amobi, Sote, Arca, Fatima Al Qadiri, Tacita Dean, Stan Brakhage. Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), The Quietus (#24) and A C loser Listen (Top 10), among other accolades).
Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as 'minutes that bother/oppress/harass'—which presumably needs no further explanation—and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh's to record a modern orchestral version of the popular Egyptian classic 'Ya Garat Al Wadi' by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh's melismatic lead vocals and electronic production sensibility pay homage to the genre's documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission.
The song's original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as 'Oh Neighbour Of The Valley', but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. 'Wa Ta'atalat Loughat Al Kalam' (' The Language Of Speech Has Broke Down') is an expression of wordless love and transcendent communication between two lovers' eyes in Shawqi's poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning - also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century. Side Two comprises four tracks of non-ensemble 'solo' material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory - voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loopdriven instrumental 'Bein Ithnein' ('Between Two' ) and the stunningly unsettling processed vocal track 'Thahab, Mish Roujou', Thahab' ('(The Act Of) Departing, Not Returning, Departing'). Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED
COPIES ON ORANGE VINYL

Primarily released to showcase the sublime talents of one of Jamaica's most celebrated vocal trios, The Heptones, the aptly titled Heptones & Their Friends album features a selection of superior reggae sides by the group alongside hugely popular works from the three of reggae's biggest stars of the period: Judy Mowatt, Nicky Thomas and Peter Tosh of The Wailers.

Backed by top session crew, the Now Generation, the Joe Gibbsproduced selection is of a predictably high standard throughout, with highlights including Be The One', a pitch-perfect slice of classic roots, a gloriously cheesy pop cover of the Drfters' Save The Last Dance', the strident Freedom To The People' and one of the biggest Jamaican hits of the early 1970s, Hypocrite'.

Too $hort's legendary 1992 effort 'Shorty The Pimp' is back in effect on vinyl thanks to the hip hop preservationist at Get On Down. Though many don't consider this to be one of Too $hort's strongest releases, the project did move well over 80,000 in its first week of release landing at Number 6 on the Billboard Top 200. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. 'Shorty The Pimp' is also a stand out project for producer Ant Banks who did many of the beats for the project, his first works with Too $hort with many more to follow over the next decade. Oddly enough, one of the best comments on 'Shorty The Pimp' comes from a random guy on the internet who commented on his experience listening to the release, 'I ran my car into a tree after listening to 'It Don't Stop' Definitely made for cars with the booming systems!'

Originally released in 2014, Matt Berry's 'Music For
Insomniacs' was an exploration into Matt's love of
the classic electronic experimentation of the
1970s, typified by the recordings of both Jean
Michel Jarre and Mike Oldfield.
With the original vinyl issue being limited to 500
units and never being repressed, Acid Jazz Records
are making a special blue vinyl reissue available.
On release, 'Music For Insomniacs' was critically
acclaimed, receiving four star reviews in Mojo, The
Times and The Sunday Times and the following
acclamations from the NME - 'much too good to
fall asleep to' and Shindig - 'quite brilliant'.
Intrigued by the work, Jean Michel Jarre asked
Matt to work with him on a track and also involved
Matt in his career retrospective podcast.
This reissue comes on the back of the widespread
success of Matt's latest album 'TV Themes', which
charted in the UK Top 40 and was almost
universally acclaimed by Will Hodgkinson in The
Times to David Holmes and The Orb. A BAFTA
Award-winning actor, Matt is currently filming two
new TV series but will be back in the studio during
2019.

170 to 180 BPM tribe and Hardfloor EP. The Montpellier Tribe crew comes here with a good surprise : the return of Sagaloop ! But the best tune here is probably the Alextrem track in the vein of his best realeses : a wise dry kick spiraling stuff.. Coit brings an Acid tribe Top tune as well... Kreat drops into DSP style with a nice open-air rolling tune. A good EP.

Night Drive encourages you to enjoy the ride with your car windows down, and volume & bass at
the highest volume possible. Cruise the back roads during Sunset hours, or through some city
lights, as the album titled track 'Night Drive' gives you a warm & fuzzy funky feeling from head to
toe.
'Moving And Dancing' will surely make you move every limb in your body, and it's set to be a
dance floor jam in 2018 & beyond. This melodic groove & retrofit tempo features Brian Ellis on
guitar & Chini on Vocoder & production, setting the upbeat tone for the remaining tracks off the
album. 'Freak Out' features the iconic Linn Drum, who pulsates a heavy groov & Moog bass line
from start to finish. Crunchy vocoder lines, soft pads from the Oberheim, and Chini's experimental
live drumming at the end is sure to make your body move.
'High Life' brings an arrangement of synthesized vocal pads from the Sought-after Korg DVP-1,
which will make you feel like your head is in the clouds. A four on the floor disco tempo from the
LINN drum, a catchy delayed lead & dry bass line form a psychedelic tinge & feeling. This track sets
itself apart, and hopes to please music lovers everywhere. 'Waiting All Night' features Portugal's
underground Funk front man Sair, while Boy Dude (Adam Chini's brother) lays a funky bass line
over the top from start to finish. 'Wanna Do Ya' is a track strictly for the Break dancers & Poppers.
Layered vintage drum machines, Jonzun Crew sounding vocoder parts, and a dirty bass line, set an
aggressive mood for the second to last track. Chini takes you on a wild ride, while closing this track
out with his heartfelt lead solo. 'Clap Boogie' was meant for the 1970's. Chini drives the tune with a
loose style of live drumming, Stevie Wonder influenced clavinet work, dirty bass lines, Brazilian
instruments, live percussion, and more. Cruise in a low-rider & turn the volume up. This tune sets
the tone for what's to come from Chini's future production & style, and will leave you wanting more.

First production of the label Sound Crack Records, 'Organic Feeling (Tool
Mix)' is a run through the jungle, savage, tribal, the raw nature animals of
Mama earth bring the feeling of being in the middle of them, the TR08 add a
kick to the efficient duo live drum Fleury Saint Denis. A real tool for house
and techno DJ's to pump the energy to the top.
On the B side comes 'Before Midnight (Evolution Mix)'. This techno track is a
trip in the urban jungle, when the city sounds are coming out of nowhere, the
melody of the steel tongue drum live played by DJ GSD is bringing the human
vibration to heal the soul. An old school touch of Detroit techno, mix with a
meaningful speech of Kennedy will take you travelling through the evolution of
mankind.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

With one of the hippest jazz albums of recent years under their belt, Jukka Eskola Soul Trio is back with a fresh new single. It's truly a double-sider of the highest order, as both of the tracks deliver a completely distinct flavor.

"Tiny B" on the A side is a neat bossa jazz number, and as usual in top of the genre, the lightness serves only as a facade. The composition starts to evolve before the listener gets too comfortable, transitioning into a beautiful cinematic section, which is followed by tight solos by Eskola on trumpet and Mikko Helevä on organ. The trio rises beyond its numbers, as the maestro Teppo Mäkynen overdubs his drumming with added percussion and vibes.

Hiding on the B side is a furious jazz dance burner, which sees the trio rise to energy levels that surpass even Five Corners Quintet in their tightest form. "Stick of a Branch" is highly syncopated business that takes its cues from a sound refined by 1970's independent afrocentric jazz groups. It's a style, which is inherently modernist, without a slightest interest in mass appeal, and firmly rooted in the blues.

If you need some no nonsense organic jazz on your turntable, it's hard to go wrong with this single.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

After a successfull first record Underground Town is back for their 2nd release just in time for the kick-off of their 4th Season of events in the top of the Swiss Alps.

Mysterious Artist delivers a serious bomb for the first track of this record. A track that makes you travel in space with groove and a fine shower of synths. Lost.act makes his first appearance in the label with a powerful minimalistic and deep trip.

Label head Giorgio Maulini comes back with some break beats & crazy synths changing the dynamic and giving this record a clever complexity with various styles. Last but not least another delicious piece by Cesar Martinez full of groove and swinging hats.

Stay tuned because the next delivery in on the way!

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.

Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.

Payfone bring a double header of NYC styled heat for the inaugural release on their newly launched Otis Recordings. Marrying modern boogie and classic R&B, with cosmic leanings and Balearic touches, Payfone manage to keep all the essence of the early days whilst bringing a contemporary swagger to the floor.

Each element in 'I Was In New York' gets the space it deserves. Palm muted guitars and sashaying synth echoes flutter over the top of a strutting slap bass courtesy of Giulio Granchelli. A simplicity that sings - simultaneously giving your mind the space it needs to drift off into a daydream of sunsets over cityscapes. Introspective, meditative and innocent, Dayna Talley's spoken word vocals lull listeners into memories of tranquil times. Set to be one of 2019's standout songs, its refreshingly original and sure to cut through the noise.

The B side, 'A Prayer For Maya Angelou' takes a Balearic boat out across calming seas. Gravitating around a metallic, pulsating synth, modulated to bounce at points and brood at others, mystic flurries drift in the distance, as pads wash across the horizon. Len Xiang's melancholic tale reverberates throughout, with those sweet sax sounds from Billy Brooks Paul and a spring reverbed guitar riffing off into the ocean - elevating this into pure paradise.

Lowell Dunbar and Robert Shakespeare are the renowned Jamaican rhythm section that has worked with a range of international stars, including Bob Dylan, Mick Jagger, Joan Armatrading, Garland Jeffries and countless others. They first came to know each other in the early 1970s, when both were based in rival bands playing in clubs on Kingston's Red Hills Road and started working together at Channel One studio in the mid-1970s, when Sly was musical arranger for the Revolutionaries house band and Robbie the main bassist for Bunny Lee's Aggrovators. After a stint of international touring in Peter Tosh's Word, Sound and Power band, which exposed them to the tastes and markets of overseas audiences, the pair joined forces more concertedly with their Taxi label, producing hits with Gregory Isaacs, Dennis Brown, Sugar Minott and the Wailing Souls. At the same time, as the driving force behind the Compass Point All Stars, they brought Grace Jones to prominence worldwide and made Gwen Guthrie a star through reggaefied disco, and then brought Black Uhuru into the top spot in the wake of Bob Marley's passing. Then, when Jamaican music went digital with the 'Sleng Teng' craze of the mid-1980s, Sly and Robbie made the shift in that direction too, becoming among the most prominent producers as the 80s gave way to the 90s. Dubs For Tubs: A Tribute To King Tubby is a digital dub salute to the King issued shortly after his terrible murder; it is mostly comprised of synthesizer re-cuts of classic Jamaican rhythms, with 'Dub For Joy' being a tough re-working of the Heptones' 'Love Me Girl' and 'Dub To Make You Move And Groove' a take on their 'Party Time'; Dennis Brown's 'Here I Come' is here mutated to 'Dub For Roots People' and his 'Here I Come' anthem shifted into the spongy 'Dub For All Seasons.' An intriguing offshoot of 'Sleng Teng' is among the other highlights.

The record you are holding in your hands is a previously unheard masterpiece of Israeli multimedia artist Ami Shavit. As a professor of both philosophy and art and established kinetic artist in the 1970s Shavit was fascinated with new and interactive technologies. While mostly focusing on visual art and mixed-media installations, a trip to New York in 1972 introduced him to synthesizers and triggered his curiosity to do some explorations into the world of music or "sound" as he preferred to call it.

Ami's research was focused on the concept of meditative music that would help people to relax and create a cosy mood associated to the alpha brain waves and biofeedback. Before starting his artistic career, like all Israeli citizens, he had to serve in the army to his personal regret. Shavit had an operational position, which meant a high probability to get involved in a so called 'hot situation'. When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words 'the dead'. Being an operation officer he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview.

'I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully.'

Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. We believe that this is an extraordinary strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories.

Ami Shavit was born in 1934 in Tel Aviv-Jaffa. Known as visual artist, his work involves in creating virtual environments with optic and kinetic art, including structures worked by electricity, moving tubular configurations illuminated by colored lights. He published In Alpha Mood in 1977 on Amis records, his own record company, at 500 copies, republished by Finders Keepers Records in 2015 and Neural Oscillations And Alpha Rhythms in 2018. Yom Kippur is his ultime recordings.

Deep, raw and real Then NY*AK is the man! Andrew Scott has been releasing superb bottom heavy deep house groovers for many years on various top labels (like Local Talk, Paper or Ninja Tunes Technicolor). Now its time for Quintessentials! The A-side features after the sun, a deep, minimalistic and sexy groover, and mind, a blissfull and rich low BPM tune for an early morning come down. The B-side starts with vice, a proper Detroit track bassline, strings, rims and snares - and finishes off with the funky and mellow onions. Deep, raw and real NY*AK anytime!

Top-debütalbum Der International Teachers Of Pop, Bestehend Aus Den Moonlandingz-gründern Adrian Flanagan (eccentronic Reaserch Council) Und Dean Honer (all Seeing I/i Monster) Sowie Sängerin Leonore Wheatley (the Soundcarriers). Itop Erzeugen Begnadeten Electro-pop Aus Analogen, Pre-1980er Us- Und Sowjet-synthesizern Und Einflüssen Aus Disco Und Pop Von Giorgio Moroder, Martin Rushent Und Bobby Orlando Bis Kraftwerk, The Human League Und Broadcast. Ihre Sheffielder Kollegen Jarvis Cocker Und Roisin Murphy Sind Itop Fans Der Ersten Stunde Und Luden Die Band Bereits Zu Supportgigs Ein.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Originally out in 1983, Love Power is co-produced by Fabian Cooke (from Itopia) and Lloyd Bullwackie Barnes, with assistance from Prince Douglas. Cooke plays most of the instruments himself, with his drumming centre-stage, though Ras Menelik puts in a brilliant shift on congas, and backing vocals are by Sugar Minott and the Love Joys. Cooke's own well-crafted compositions are joined by covers of Irene Cara and the Four Tops, infectiously bridging roots, lovers and synthy, soulful eighties boogie.
Betrayed is solid-gold, signature Wackies. He's My God is a tasty sip of low-slung, grooving gospel-reggae. Evoking Michael Jackson, the jamming album-closer Drums is top-notch disco-reggae, opportunely poised for revival.
Terrific stuff, full of personality, charm and in-ting hybridity.

Sometimes you produce a track with nothing but a dancefloor and a good sound system in mind. "Twelve Inch Jams" is offering you just that - strictly two A side tunes for the floor cut at 45 revolutions per minute. Jazz & Milk pays tribute to this classy release format with their new 12" vinyl series. Each record comes in a hand silk-screened printed and stamped sleeve!

The dreamteam of the highly successful first installment (JAMS001) teamed up again to share their love for raw and sample-based house music tunes produced on the MPC. Label artist Sam Irl and the man behind Jazz & Milk, Dusty never fail when it comes to layering colorful sample fragments and enriching them with raw beats and deep synthesizer chords.

"Broken Spell" starts off with a super moody atmosphere that slowly opens up until it reaches its energetic peak with bright synth stabs and a smooth bassline before colorful arpeggios are drifting the track into other spheres. "Love Prelude" has a rather dreamy vibe but its deep chord progressions and rough bass drums and claps create a truly unique contrast and a hypnotic atmosphere on top of it, while a later incoming bouncy bassline and dubby sample parts eventually pull you in cosmic dimensions!

The great jazz guitarist Kenny Burrell on one of his most celebrated sets of all-time. Recorded live at the Five Spot Café in New York City on August 25, 1959, this is the second set and the band is really cooking. Featuring the brilliant drummer Art Blakey as well as the wonderful, but unfortunately under-recorded tenor saxophonist Tina Brooks, Burrell's band is in tip-top shape on this set of compositions ranging from originals to Gershwin to Gillespie. An essential live jazz set for any fan of the golden era of modern jazz.

Basic Rhythm arrives on Arcola following two killer albums for Type and one as East Man for Planet Mu. Up top, 'Dough Boy' rolls a tough LFO heavy dance floor number that is sure to mash heads up everywhere it is deployed, while the anthemic 'Can't You See' shifts between early AI synths and an ambient dancehall vibe that while it has its roots in early 90's jungle and hardcore, has its sight fixed firmly on the future."

Made in the Designers Republic. 12" EP house in full print outer sleeve with clear foil detailing and custom die-cut holes plus custom print inner sleeve.
Mastered and cut by Beau at Ten Eight Seven.
Limited to 500 units worldwide

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

CYRK, the Belgian-German duo of Sammy Goossens and Pascal Hetzel, is giving its debut release on Vakant with three fast-paced no-holds-barred electro jams topped off with a remix by French producer Voiski.

'Superior Things', the eponymous title track, kicks off the EP with driving funk and and acid lead synths, followed by 'Heatwave', another futuristic high-tech-funker. On the flip we have 'Chappers Said So', a sublime homage to classic Detroit electro and last but definitely not least Voiski's remix of the latter, an immersive and trance-inducing techno re-work for you to get lost in.

Artwork by SEO

DGTL Records hits close to home with their latest release 'Dancing Glass Figures' by De Sluwe Vos. The dj/producer has been affiliated with DGTL since the beginning, as he played at numerous of their festivals from day one. So it was only a matter of time for De Sluwe Vos to release his music on DGTL's label. With Dancing Glass Figures he delivers a strong 4-tracker that is truly hard to resist. De Sluwe Vos has been making waves lately, not only with his steady sets but also with his own label Patron Records, which has seen a string of well-supported releases since its launch. Never Know, the first track of the EP, takes no prisoners, as this straight-up banger with the hard-hitting synth line keeps you captivated throughout the entire track. The repetitive vocoder vocals give the track a spacey touch, especially during the break. De Sluwe Vos teamed-up with fellow Amsterdammer Sjamsoedin, who's known for his exceptional synth knowledge and hard-hitting live-sets. Together they produced a strong lead track that you will definitely get to hear a lot on the dance floor.

Fast rolling drums and a dreamy warm synth lure you into the title track Dancing Glass Figures. But don't get too comfortable, halfway into the track you will get a sturdy surprise, which only makes the track more interesting, while taking you back to where it all started at the end of it all.

Moving on to the B-side. Sophisticated Topless Raver is mesmerizing, with an intriguing and hypnotizing melody that comes and goes throughout the track. Bringing in some hard claps and an eerie laughing vocal, this track for sure is one for the later hours.

Bambounou has the honour to close-off the EP with a remix of Sophisticated Topless Raver. The French dj/producer, who's been on everybody's radar this past year, slowed down the original version and added a sleazy bassline, synth stabs and extra percussion, while keeping the melody and the vocal. Making the track just as enticing as De Sluwe Vos' version.

Canada's Solar Phenomena Presents Three Dj Sotofett Remixes Of Tokyo Producer Mystica Tribe. With A Unique And Unpredictable Approach, Norwegian Dj Sotofett Who Runs Sex Tags Mania, Amfibia And Wania Opens The Remix Ep With "ash Of Dub Mix", And As The Names Suggests, A Fat Dub With Huge Rubbery Kicks, Oodles Of Echoing Hits And A Spaced Out Curiousness That Sonically Draws Inwards. "dub Lawn Dub" Eight Minutes Strips It Back With A Meandering Top Line, Whimsical, Dreamy And Encouraging Synths Contrasting The Rickety Drums Tumbling Below. Lastly, "dub'right Mix" Continues The Producer Trademark Loose Limbed And Jumbled Drums, Working Into A Lather While Synths Squelches And Wobbled Pads Parallely Prospects Other Dimensions. Heavy Deepness With Percussive Highlights.

With 'Caused Corruption & Spilled Blood', the second release on Voidance Records, Chafik Chennouf & Katsunori Sawa have created a soundtrack of the tragic drama of humanity´s fatal flaws, meditating on the question whether the angels were right to fear mankind's creation of causing corruption and spilling blood according to an anecdote that all Abrahamic religions share.
The follow up - Mediate Between Them' may not provide an answer to this question, but further elaborates on the topic. Whereas issues such as obstruction of truth for personal gains, affinity for internal destruction or longing for salvation were originally approached more internally by means of ambient or experimental electronics, the experience now emerges through the work of renowned artists Samuel Kerridge, Eomac, Nene H. and Stave using Noise, Techno and stepping Industrial as their weapons of choice.
Voidance Records is proud to present Chafik Chennouf & Katsunori Sawa´s vision once again, this time through different eyes of 4 unique artists. Not only is - Mediate Between Them' the reverence these tracks deserve, but also demonstrates a huge step forward in the Label's position as a striking new voice in contemporary electronic music.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Celestial electronics are always at the heart of James Welsh's music, via a number releases for labels such as Erol Alkan's Phantasy Sound, Wolf Music and Hypercolour. 'Hammers' is Welsh's second release for Futureboogie (following 2013's 'Craven' EP), and finds the UK based producer on particular fine form.
With its airy pads and shrouded ambience, 'Hammers' drives a 303 bass line right through its centre, perfectly balancing the tracks emotive and darker sides.
Hodge (Livity Sound/Hemlock) comes on board with an industrial sized remix, carving out some heavyweight tribal drums and additional percussion and letting the acid do its tweakable thing.
'Denergy' meanwhile channels some electro tinged bassline moves over super funky, tight drums, a flourishing acid line, and laced with the futurism and sound aesthetics that's keeping James Welsh at the top of his game.

Colombian musician, Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will Holland a.k.a. Quantic, joined forces in 2012 to create the celebrated Ondatropica project.

Recorded at Discos Fuentes in Medellin, Ondatropica exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with contemporary influences from around the world. The concept brings together an iconic group of top Colombian musicians representing both the classic and more modern styles of la musica Colombiana. Artists such as Fruko, Anibal Velasquez, Michi Sarmiento, Alfredito Linares, Pedro Ramaya Beltran, Markitos Mikolta and Wilson Viveros joined a group of younger Colombian musicians, members of both Mario's band Frente Cumbeiro and Quantic's Combo Barbaro, to (re)generate the excitement that positioned Colombian music as one of the most influential in South America.

Ondatropica's eponymously titled double album fuses traditional Colombian styles such as cumbia, gaita, champeta with boogaloo, ska, beat-box, MCs, ska, dub, funk and creates a progressive collection of 26 tracks that re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production.

Keysound Recordings are proud to present an EP from one of the UK's most exciting production talents, Otik.
The EP consists of four original productions on vinyl 'Top Ten', 'Latex', 'Notion' and 'True Level,' plus on the digital a refix of 'Top Ten' from label co-owner Blackdown 'Top Ten.'. Collectively they are weighty contributions to the space emerging between techno and bass music currently being forged by labels such as Timedance, Hessle Audio, 3024 and Ilian Tape. 'And Keysound of course haha...' adds Otik. 'I've been very inspired by these labels'. 'I'm based in North East London but I'm originally from Bristol. I've been producing since the age of about 15 but didn't really get into UK dance music until the age of 18,' he adds. In recent times, Otik's released on 17 Steps, Dusky's label, DEXT Recordings, Durkle Disco, Push & Run, Tessier-Ashpool and Infinite Machine. He will also be releasing on Nous Disques later this year.

Raised in the outskirts of Paris, his career has embraced music, fashion and film and established Kiddy as a key figure in Paris's LGBTQ community and the voguing and ballroom scenes.

'One Trick Pony' sees Kiddy working with such talents as Rouge Mary (Hercules & Love Affair) Be Honest, Burn The House Down & One Friend and Crookers Dickmatized. Citing gospel and hip-hop, 90s Chicago and Detroit as influences,

Kiddy has delivered an album with house DNA at it's core whilst embracing a pop sensibility. It explores intimate, personal topics - unrequited love, paternal desertion and acceptance of one's body.

'I define myself as a house-music artist. Queer is limiting. My music reflects my everyday life. I talk about me and being black and gay. My songs are about love. They're not political, but my work is.

The lead single Dicktamized is about 'toxic relationships, the ones you know you would be best to remove yourself but you're almost hypnotised into thinking if the sex is good you should carry on.' 'It is taken from the soundtrack

of Gaspar Noe's latest and critically acclaimed movie 'Climax' premiered at this year's Cannes Film Festival and also featuring Kiddy. Kiddy Smile is supporting Beth Ditto around Europe from May to July 2018.