Search:thes one

For the first time this massive tune by Esnard Boisdur is pressed on record..One of the standouts in the Gwo-Ka genre.. Comes with a rework on the flip by Africaine 808 (Hans Reuschl & Dirk Leyers) - they used the original stems and added drumcomputer and extra live percussion, synthlines, little dub effects.. Not the ''usual standard threatment'' here!! This is class!

“You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like COSACK, ANZALA and ESNARD BOISDUR have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.

Chillum Trio started out as a collective of like-minded musicians in 2002, however, after releasing an album together (which was supported by the likes of Laurent Garnier) the project slowly become the solo act of founding recording producer, Geza Szekeres.
At that time he discovered West-African music, latin jazz and the universe of soul and funk, these new directions have been shaping his musical evolution ever since.

In 2014 he turned out as one of the winners of Gilles Peterson's Havana Cultura remix contest that gave him the opportunity to travel to Havana and record music with the creme of the Cuban jazz scene.
One of his songs recorded in this session got released on Brownswood Recordings compilations Havana Cultura Mix and Havana Cultura Anthology.

Budabeats Records is more than proud to release Chillum Trio's first ever 12" single called Cosmotropica with two dancefloor friendly tracks mixing broken afro-house with tropical and cosmic influences.



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The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer…

Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.

Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.

Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

The original LP states that “Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream.”

I’d first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden’s Island album and occupies a similar musical space. But this album has a little more death.

Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take.
Jonny Trunk 2019

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Flatliner, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* The year is 1994 and the awesome combination of Flatliner & Ant Miles gave life to the infamous tracks ‘The Big Bang’ / ‘No Boundaries’. Release no 9 on RAM records tore up sound systems at every Rave in the country. A follow up was on the cards and ‘Flatline’ was born. Put to one side to make way for the Big Bang/No Boundaries remixes, somehow it never resurfaced again... until now!
* A similar story evolved for the A side ‘Just Stop’. A track made in the latter part of 1995, Flatliner comes with yet another amen monster, but this time taking things on more of a rolling Drum & Bass vibe. A golden nugget to own on vinyl for any true Jungle/Drum & Bass fan.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

NYC Synth master Steve Moore makes a welcome return to L.I.E.S. with his first ep on the label since 2012. Through these four tracks Moore creates a world with simplistic stripped down beauty, often using one synth and a drum machine to effectively construct alternate realities, as heard on the opener Broken Kills. This continues on the b-side opener Eigengrau, while Future 86 and Future 99 take a more dramatic komische influenced soaring arpeggiated approach. Unmissable.

This four-track-EP celebrates the spirit out of which Seilscheibenpfeiler was born. It contains two unreleased 1994 productions by Sebastian Szary’s Fundamental Knowledge project, which started the label back in the day. They are complemented with present day reworks by Fadi Mohem and Skeemask, breathing new life into these 25 years old but far from outdated tracks by adding a little extra punch through modern means of production.
Fadi and Skeemask deliberately don’t apply any specific modern elements to Szary’s vintage tracks, instead they enhance their classic Minimal-meets-Hardcore-meets-Acid feel. It’s a transmission from a Golden Techno Age where all was one, capturing the sweaty, hard, yet light footed sound of post-wall Berlin, with all its associations from Tresor to Love Parade.
„1994 - 2“ sounds hypnotic and airy, while rumbling on the lower end. What a perfect opportunity for Skeemask to flesh out the track with his hefty trademark breakbeats! Fadi Mohem revamps the acidic „1994 - 21“ with equal respect and efficiency, providing the kick drum power needed for big soundsystems.
If you don’t look at the titles, it may at first be hard to discern which is which, what’s past and what’s present – a fact that honors both versions new and old.

The legendary Blade is back on vinyl with this limited edition 7" and digital release from Boot Records! These are 2 killer tracks from the archives, "Dark Friends" and "Make it Connect", both with cuts from Boots Jazz T. The cover art is by Stilts cementing this as a record not to be missed!



General Information

Title: DARK FRIENDS

Lyrics Written & Performed by: Blade

Produced by: The Manos

Recorded @: The Lion's Den

Mastered by: N/A

Label: 691 Influential

Catalogue Number: N/A

Recorded: 2003

Blade had met a couple of young guys whilst selling his records on the streets around 1991 and kept in touch on a regular basis as they both had a love for the creative side of music making. At this time the guys were just fans of Blade's music but one day turned up at Blade's flat to produce a beat with Blade's help and ever since then have been good friends and later went on to be called THE MANOS

12 years later and with the release of Blade's "STORMS ARE BREWING" album, his distribution company had declared bankruptcy and left him on the verge of losing his house. Not being able to provide for his family, he called up on his close friends THE MANOS to produce a couple tracks while he focussed more on just writing and performing the lyrics while doing what he needed to do to make sure the bills were paid and his house saved from repossession

The first helping of their production skills was showcased on Blade's "SOLDIERS" track which also featured LIFE MC & RESPEK BA. "SOLDIERS" was officially released in 2003 and around the same time Blade & THE MANOS hit the studio again and recorded "DARK FRIENDS"


Due to constant unexpected and sudden unpredictable changes in Blade's personal life, "DARK FRIENDS" never got to see an official release and was shelved as an incomplete demo until years later when it saw an underground release on "BOOT RECORDS". At this point the track was still missing the scratching and now again almost 10 years later and with Blade's very close friendship with DJ JAZZ T and with the addition of the scratching by the one and same, "DARK FRIENDS" now complete with sharp and to the point cutting finally sees the light of day.

Blade retired in 2006 and has been off the radar since until December 2018 when he became a little more active on Facebook and has reconnected with a lot of the fans and friends, with which obvious conversations about unreleased material was bound to surface and as a result "DARK FRIENDS" now is finally released on a limited edition 7" vinyl

General Information

Title: MAKE IT CONNECT

Lyrics Written & Performed by: Blade

Produced by: Blade

Recorded @: The Lion's Den

Mastered by: N/A

Label: 691 Influential

Catalogue Number: N/A

Recorded: 1997

"MAKE IT CONNECT" is one of those rare demos that Blade just threw together in about an hour to pass time and over the years turned out to be one of his favourite tracks, but at the time being completely broke and homeless, living in the basement of a local equipment store in New Cross, releasing this was simply not possible. This track has been sat on a cassette tape for over 20 years and having been played over and over again the quality has completely worn down. Unfortunately the version on the cassette tape was the only version available so separating the channels to get a proper mix is not possible either

However, thanks again to DJ JAZZ T that only made it more interesting to make something of this gem of a track. Blade having been retired now for 13 years, it would only really take one of two things to see Blade on tracks again for public consumption

This new and grainy Sbire release sees La Chaux-de-Fonds electronic craftman Gaspard de La Montagne work as per usual with Nathan Baumann. The two of them share a long history of forward thinking music projects, including EPs, videos, movie soundtracks and so on. Things have changed on this one though as Baumann co-signs the record, instead of an usual credit mention. Both artists describe these 7 tracks as a small album which average format of tunes leans towards pop music. A thoughtful and progressive tracklist bounds all titles together as a whole journey, landmarked by Baumann's ethereal vocals and minimalistic french lyrics. This new approach makes Auras a moving and bittersweet journey that will see you wander from a crowded club to your lonely bed.

Everyone knows, nasty days are not uncommon in the life of an aufstrebender Musikproduzent. But when it all comes together, magic happens, music just flows out & it’s all worth it! Who knows, in the end you might even look back and reminisce of these nasty days. Everyone, this is Törsh’s sophomore EP. Thank you!

Ukrainian born and New York-based artist Matuss is delivering anotherinstallment of Absence Seizure. This time she is teaming up with
Norwegian but could be Berlin depending on the time of year
basslines that are pulsated by some intricate synths.


The Absence Seizure imprint is run by none other than Matuss herself along with Abe Duque and they focus on limited edition vinyl with a
nose for deep and meaningful house and techno. The last release saw the two bosses’ team up on Absence Seizure 11 to deliver some
pulsating beats and orgasmic synths. Expect a deeper cut this time around with the two artists verging more to the house side of the
electronic music spectrum on this project. Karina’s ‘Acid Meow’ is the first track on AS012. Karina is one of The
Zoo Project Ibiza core residents a player of all things vinyl with releases on the likes of God Particle and Cymawax. ‘Acid Meow’ has a
fearless acid-tinged bassline that gives the track a motivating drive. Reminiscent of 90s minimalism she’s kept the beats simple
putting all emphasis on the merciless acid sequence. Tip! Real energy to the dancefloor!


Matuss takes over the EP after the initial cut starting with ‘Travel High’. It has a long build to begin with these quizzical keys that
create anticipation. It discharges with an old school funky bassline that is slowly pushed. It’s accentuated by a ghetto vocal belting out
the title of the track and ends with some punchy percussions and bongo drums. She follows up with ‘Ninja Moves’. A more secretive and sultry number.
It tingles out a smooth bassline and revolves some nice chatter claps and snaps to add a certain silkiness to it. A bit of a floater
it has some beeping 80s keys on it that just add to the sway. If you want your mind to drift
you can get lost in this. Last but as always not least is ‘People Like You and Me’. The track starts with that fun festival horn that makes nostalgia exude out of
your prefrontal cortex. It divulges into these rolling clicks and toms that is carried by this dubbed bassline. Eventually
a bright and sunny synth emits light over the track as the vocals invite you in. The juxtaposition of the synth and bassline just work in harmony and
really make this cut hit home.

Factory Benelux is proud to present a deluxe 5 disc vinyl box set edition of Always Now, the debut album by cult Factory Records group Section 25, produced by legendary sonic architect Martin Hannett and sleeved by Peter Saville.
All tracks are newly re-mastered from the original quarter-inch tapes. The first 1000 copies of the box set are pressed in coloured vinyl: disc 1 (black); disc 2 (clear); disc 3 (yellow); disc 4 (red); disc 5 (silver). The outer case in printed in PMS 123 with spot varnish.
The 16 page booklet features unseen images by noted photographer Philippe Carly and texts by founder members Larry and Vin Cassidy. Also included is the first ever interview with guitarist Paul Wiggin, whose sudden departure in late 1981 saw Tony Wilson try (and fail) to recruit pre-Smiths teenager Johnny Marr as replacement.
Recorded as a trio at Pink Floyd’s Britannia Row studio in London in January 1981, Always Now combined austere post-punk rhythm and noise with elements of Can, Krautrock and modern psychedelia. Key tracks include Friendly Fires, Dirty Disco and New Horizon, along with C.P. (a collaboration with Hannett) and Hit (extensively sampled by Kanye West for the track F.M.L. on his 2016 album The Life of Pablo).
Disc 2 gathers together several non-album singles from 1980 and 1981, including Charnel Ground, Je Veux Ton Amour and debut EP Girls Don’t Count – the latter produced by mentors Rob Gretton and Ian Curtis (of Joy Division).
Disc 3 offers a complete live show professionally recorded at Groningen (Netherlands) on 26 October 1980, as part of a Factory package tour.
Disc 4 is part-improvised second studio album The Key of Dreams, recorded and produced by the band themselves a few months after Always Now, and released by Factory Benelux in June 1982.
Disc 5 consists of further experimental material recorded in 1981 and self-released on a cassette called Illuminus Illumina. This final disc closes with an extended (and previously unreleased) live encore jam recorded with all four members of New Order at Reading University on 8 May 1981.
“One of the best albums Britain's second city has unleashed” (Uncut);
“In 1980 their bass-driven mantras were thoughtlessly dismissed as second-rate Joy Division, but hindsight judges them more kindly. The wind-dried skeins of their blasted guitar harmonics and skimped electronics gauntly cling to the songs’ skeletal frames. With telltale titles like Babies in the Bardo their Buddhist interests hang heavy over these early stirrings. But, combining a bass-led drone with a characteristic groaning vocal, Charnel Ground succinctly pins down Section 25's pre-disco appeal” (The Wire)

incl. Download Code

Like a fine 40-year old whisky, the layers on this record and influences are complex, nuanced & Layered. You might taste something different but here are my tasting notes...

The Nose - Notes of Bobby Cauldwell, Steely Dan, David Crosby a definite Sun Drenched yacht folk dram.

The Body - I can taste strong notes of Jimmy Webb and Aztec Camera not present on the nose, this a much deeper dram than initially nosed, I can see myself enjoying this in front of a warm fire.

Finish - Long finish on this one, I can taste the Miami tarmac, the Beach and salt water, the nightclubs and linen clothing, Don Johnson's dirty washing.

Whisky tasting over, both the albums this LP was compiled from were recorded at Coconuts recording Studio in Miami, notable for Miami Sound Machine recordings and Blood, Sweat and Tears. I have been into these for a long time and whilst not the rarest AOTN re-issue to date (although that may change now the words out) they deserve to be recognised for the solid LPs that they are. Just buy it and float away.

“ To know Lerosa is to have a huge amount of respect for him. The Dublin-based, Italian producer isn't concerned with the limelight. Rather, his studio philosophy resembles the Japanese concept of “kaizen” a workmanlike, incremental improvement.



Leopoldo Rosa's debut for Acid Test is the producer's first album in eight years, but since then he's put out in the neighborhood of 15 EPs for the likes of Idle Hands, Ferox and Saft, homing in on his own lush sound, which weaves effortlessly between deep house, acid and electro.



He applies all these patient lessons on “Bucket Of Eggs”, the ten masterful tracks fit perfectly within the label's concept. Yet Rosa, like the label's stable of 303 auteurs (Tin Man, Recondite, John Frusciante, Pepe Bradock) opens up bold new vistas for the subgenre. On "Conjurors," he spends half the track building up atmosphere so thick and dubby you could cut it with a knife, before introducing an acid line and jack track heralding back to the acid's maddening, revolutionary roots.



About halfway through the set, Lerosa is done setting the stage, and thusluy delivers a string of freakishly good late night tracks. For Lerosa, the hips and the head work in concert—"One Is Too Short"'s no-nonsense rhythm section perfectly balanced by the track's dreamy synth and zero-grav piano breaks. On "Self Inflicted," he joins a rarified class, synthesizing electro funkiness, widescreen ambience and acid counterpoint.



On initial contact, Lerosa's “Bucket Of Eggs” feels astonishing, an expertly-paced, near-perfect LP. But for those who have been following the low-key producer, it feels like a natural culmination. “

Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag...

Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with Irfan Sumer, Oguz Durukan and Ugur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barıs Manço and Mogollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardasllar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervisan - Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later... The cat’s got the cream.

In 1975, Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis to demo five original compositions. Known colloquially as “The Cookhouse 5” these recordings showcase a 16-year-old guitar prodigy named Prince Rogers Nelson. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One’s expressive playing style, already evident in his teenaged years.

Now available to international accounts for the first time, now with a direct to board jacket with gold foil stamping. Limited to 300 copies.

Albert’s Favourites co-founder Adam Scrimshire is set to release his fourth album 'Listeners'. Musically, 'Listeners' draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from an energetic combination of Afrobeat and garage on 'Won't Get Better', to the lushly orchestrated neo-soul of 'Thru You', and the harmonious jazz experimentations of 'I Never'. The album features a host of esteemed guest vocalists and musicians telling their own personal stories, including Georgia Anne Muldrow, Emma-Jean Thackray, Joshua Idehen, Madison McFerrin, Chip Wickham, and James Alexander Bright.

"With this album I wanted to get a more focused sound after six years of relearning and development in the studio. But I also struggled to find my own words, to speak about where I/we are now. So I allowed my collaborators total freedom to tell their own story and as they came back to me, they were telling the same stories I wanted to. It's resulted in some deeply personal confessional pieces: mourning family, collapsing relationships, extremes of self doubt and analysis, trying to balance public and inner persona, and a reminder that life in all forms is important.

It’s called 'Listeners' as I am a listener here, I feel like I've been given these very personal experiences to care for. Listeners because, the travesty of the last few years is that we stopped listening to each other, everyone is shouting at each other and no one is learning. And Listeners because I hope I've made something that is for other people more than I have before. I've tried to craft something warmer and more enjoyable, made for those who give me their time in listening to my music."
- Adam Scrimshire

Since joining the Wah Wah 45s label in 2007, Scrimshire has released three albums of experimental cinematic jazz, and electronic sounds. Following his 2009 debut ‘Along Came The Devil One Night’, his second album ‘The Hollow’ (2011) was a BBC 6 Music Album of the Week, with Gilles Peterson calling it “A late contender for album of the year”.

In the time since the release of his last album ‘Bight’ (“An eclectic range of influences ranging from disco to fusion to more contemporary electronic styles” XLR8R) in 2013, Adam has worked with long-time musical accomplice Dave Koor on new project Modified Man, and launched Albert’s Favourites releasing projects by The Expansions, Hector Plimmer and Jonny Drop. He has continued to gain radio and DJ support for his successful “Scrimshire Edits” series and has produced and mixed records for artist including Stac, Daudi Matsiko, Bastien Keb, Ronin Arkestra, Jonny Drop. He has also continued to develop the Wah Wah 45s label, where he is now a co-owner and director.

Preceded by singles 'Thru You' featuring Georgia Anne Muldrow and 'Life Is Valuable' featuring James Alexander Bright; 'Listeners' is set for release on LP and digital formats via Albert’s Favourites on 19th July 2019.

DJ Support / Press:

Huey Morgan (BBC Radio 6 Music)

Jamie Cullum support on BBC Radio 2

Jamz Supernova on BBC Radio 1Xtra

Thru You Premiered By Mary Anne Hobbs on BBC 6 Music “So Beautiful

Another Nervous rap nugget from da vaults!

Black Moon's 'Buck em down' is an anthem! One of the few instances in hip-hop where the remix is almost as infamous as the OG version.
Well, this is the OG version, finally on 7" - dirty version b/w Da Beatminerz instrumental. Filthy. Banging. Essential. Listening back to these jams is taking us back to the days of obsessively watching Yo! MTV Raps, BET, The Box and whatever else we could find on cable, pure memories, all caught up in that slamming Donald B loop, and those drums?! You can literally HEAR the grit flaking off of Evil Dee & Mr Walt's SP. Incredible. Word life.

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

Juan MacLean and Man Power debut as Juan Power for Life and Death

Life and Death continue to serve up brilliantly unpredictable releases with a new one that brings together American DFA stalwart Juan MacLean with the UK’s Me Me Me label head Man Power, plus an edit from the boss, DJ Tennis.

Juan MacLean is a multi-faceted artist who has a history of everything from playing in post hardcore bands to producing some of DFA’s most celebrated releases. He does classy house bangers with synth pop and disco layers like no one else. Man Power, meanwhile, is someone who is fantastically eclectic in what he does on all fronts as a DJ, label boss and producer. He’s made corrugated acid, hands in the air house and machine disco and plenty in between on his own label, but also cult outlets like Correspondent and ESP Institute. The coming together of these two undoubted studio wizards, then, is a fascinating prospect.

And so it proves right from the off: opener ‘Crescendo’ is a nine minute masterpiece with rickety house drums making you move while the shuffling percussion builds the pressure. Gorgeously warm chords eventually join the fray and have a blissful effect that sets you off dreaming and keeps you in a trance until the end.

DJ Tennis himself then steps up with an edit of ‘Excuse Me Daddy’ that is deep and cavernous. Next to the suspensory pads is an intricate synth line that takes you in on yourself in perfectly melancholic ways.

Closer ‘Praise The Toad’ then picks up the pace with more live sounding drums and a sparkling lead synth that rises and falls to cosmic effect. Drawn out over the full length of the track, and in amongst some chattery claps and smart effects, it makes for a journey to the stars that will cast a real spell on all who hear it.

This is an innovative collaboration between two masters of their craft.

Good For You present a special Paradise Garage inspired 12 Inch sampler from the upcoming ‘Paradise Garage : Inspirations’ compilation, featuring two of Kenny Summit's collaborations with the Director's Cut duo, and Godfathers of House, Frankie Knuckles and Eric Kupper. Neither of these tracks have ever been pressed to vinyl, so this is your chance to own these masterful tracks cut loud and proud on either side of a 12 inch.

The A side houses the last ever Frankie Knuckles production, a project Frankie and Summit worked on with Eric Kupper - remixing 'You'll Never Find Another Love Like Mine' by the legendary Lou Rawls – pure soulful house brilliance from the very first second. On the flip you’ll find a further Kenny collaboration with the dynamic duo entitled ‘Loving You’ – the trio teaming up to deliver a stunning Motown inspired dance floor stomper with an uplifting vocal by the one and only Yasmeen. Two certified anthems that have had heavy rotation with DJs like Cajmere, Grant Nelson, Sonny Fodera, Quentin Harris, Robert Owens, Tony Humphries, Danny Rampling, John Morales, Graeme Park, Pete Tong and still continue to get played the world over.

These tracks form part of a wider compilation, ‘Paradise Garage : Inspirations’ that contains unreleased remixes of iconic club tracks like Loves Last Episode‘s remix of Deee-Lite‘s ‘Power Of Love’, and seminal club classics like the Masters-At-Work remix of Todd Terry‘s anthem ‘Sume Sigh Say’ and Francois K’s “Time & Space.”

Both this sampler and the full compilation feature a masterpiece of cover art designed by Alexander Juhasz, the artist behind the award winning films The Little Prince and The Babadook.

The Four M Company, previously unreleased Modern Soul, & Boogie Funk recorded in 1979 at Paul Serrano's P.S. Studio in Chicago. This 6 song LP carries lush vocal harmonies with syncopated synthesizers, driving funk bass and brass elegantly crafted together into masterful arrangements. Band members in these recordings are David & Wendel Sudduth (The Eight Minutes, Perception Records), Terri Johnson, Paul Ramey & Duane Faulkner. Produced & Arranged by Vince Willis. After The Eight Minutes, David formed The Four M Company in High School. His brother Wendel joined and they played every prom every year from 1974-1978 on the north and Northwest side of Chicago. Approximately 35 members have played with The Four M Company at one point in time. Cut direct to lacquer for vinyl replication at 45 rpm from the original Master Tape. Limited Hand-Stamped Wax (500 copies).

We adore Big Star and Alex Chilton more than words can express. Being able to present two of Alex’s staggeringly beautiful demos on vinyl for the first time (on a cute picture sleeve 7", no less) is an absolute honour for us at Be With.

“It Isn’t Always That Easy” and “If You Would Marry Me” both sound like templates for some of Alex’s best-known Big Star numbers. These demos come from the transitional recording sessions he made with Terry Manning at the Ardent studio in 1969, but were missing from the vinyl version of the wonderful Free Again compilation that was released in 2012.

Caught between the end of the Box Tops and the birth of Big Star Alex’s song-craft was already remarkable - as these demos prove - and this release represents a fascinating, exploratory period in the career of one of pop’s most enigmatic talents.

“It Isn’t Always That Easy” is the real knockout. A tender, acoustic ballad that, stylistically, could have appeared Big Star’s “#1 Record”. Yes, it really is that good. A deeply affecting, ruminative lament that explores the ravages of Alex’s short career to date, it is also one of the sweetest and most delicate melodies he ever wrote. A song this stunning shouldn’t just be kept for the Big Star completists.

Over on the flip, “If You Would Marry Me” finds Alex in earnestly romantic mode. It’s just him and a piano, albeit one that is played in a poppy, uplifting fashion to complement the optimistic mood: “I could make you feel so glad inside and so alive” he confidently declares. It’s quite the gem. It really should be mandatory for this to be played at every wedding.

Unfortunately there seem to be no photographs of Alex from around the time he was making these recordings. But luckily we were put in touch with Pat Rainer who was photographing the Memphis music scene that Alex was still part of a few years later.

Happy to be described as “a friend with a camera who was hanging around”, Pat’s candid pictures of Alex included one of him asleep on the floor of the Ardent studio. Even though the photograph was taken 9 years after the demos were recorded, we think this intimate portrait makes a fitting cover for these equally intimate songs.

Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop
in the Melbourne countryside.
Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop in the
Melbourne countryside. 'Healesville' follows on from the bucolic wonder of
their Apollo debut 'Tidal River' which took inspiration from the duo's visit to
the beautiful Wilson's Promontory (a remote national park on the South
East coast of Australia). "Late last year, we trekked out to a beautiful mudbrick studio located next to a large strawberry crop in Healesville," Albrecht
explains. "We spent a few days capturing the feeling of the slow-paced,
relaxed surrounds: The wildlife, the strawberry pickers, the sounds of the
night, and improvising a response to them with music we felt suited."
Setting up their favoured musical equipment, which included two pianos, a
Waldorf, a Nord and a clutch of microphones the long-form improvisations
began. "The physical construct of the hut imparted a warm and acoustically
interesting environment to record in," Alex explains. "It also allowed us to be
as close to the strawberry crop itself - we positioned a mic out the window
to capture the recordings of the sound outside. During one of the sessions,
a harvest was taking place, and you can hear tractors passing and workers
talking and laughing in the recording. The resulting drowsy pieces were
completely improvised (augmented by percussionist Joseph Batrouney,
guitarist Carla Oliver (Badskin) and guitarist Oliver Patterson), freeform
recordings that explores themes of relaxation, sleep and dreams;
somnambulant piano figures are caressed with delicate guitar passages
bathed in the bucolic field recordings of the Healesville environs. Recording
the album proved to be as relaxing and civilised a process as listening to it:
"We cooked nice dinners, enjoyed good wines, and took plenty of walks
through the landscape to break up the sessions," Alex shares. The resulting
record is one of quietly sozzled majesty - a delicate fusion of ambient
electronic textures, live instrumentation and field recordings that beguiles
and soothes the listener in these troubled times. — Recorded live at Earth
Mud Straw in Healesville by Alex Albrecht and Sean La'Brooy. Guitar by
Oliver Paterson and Carla Oliver (Badskin), Percussion/FXs by Joseph
Batrouney. Mastered by Corey Kikos. Thanks to Sabbine, Boomtown wines
and the strawberry pickers in Healesville.

Wow !

A bona fide genius from the formative 12" remix era of NYC's Disco explosion opens up his secret vault !!

These are previously unreleased versions of classic cuts from one of the pioneers
Super limited...

'There's a lot of serendipity involved in wrestling grooves out of these awkward machines', says Richards about the process behind the record. 'A large part of the composition is making the machines and the patches. They define the limitations of the pieces coming together. Then the performances are happy accidents - found using intuition and practice.'

Made up of two studio sessions and one live recording, PINK NOTHING reflects the unusual space Richards inhabits musically. It's partly informed by his background as a PhD student at Goldsmiths, where he re-imagined and built the Mini Oramics machine – a 'drawn sound' instrument first conceived by electronic music pioneer Daphne Oram, and finally realised by Richards in 2016.

But Richards is also an autodidact beat-maker, and much of the structures and sounds on PINK NOTHING derive from dance music, while his influences also include ritual trance, Ghanaian drum choir music, and the cellular rhythms of Steve Reich. 'It's polyrhythmic abstract electronica' – and he emphasises – 'listening music'.credits

On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

Season Four of Outlander continues the story of time-travel 1960’s Claire Fraser and her 18th century husband Jamie Fraser as they try to make a home for themselves in the rough and dangerous ‘New World’ of America. The score to the series is composed by American film and television composer Bear McCreary (The Walking Dead, Cloverfield, Black Sails). The settings of the series were a challenge for the composer, because each culture and geographical location offers other potential musical influences for the score. The score supports all these different locations and he even used the banjo this time. As it was one of the most exhilarating creative challenges of his career you’ll hear the integration of both bagpipes, fierce Afro-Cuban polyrhythms and French baroque ornaments. Above all the typical folk music will set the tone for all the settings in the movie.

Outlander Season 4 is available as a limited edition of 500 individually numbered copies on coloured (gold & black mixed) vinyl. The package contains an insert.

A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

Vinyl & digital released on Friday 19th July 2019 on First Word Records (Worldwide Awards 'Label of the Year 2019').

Robin Ball's Memory Box builds on the success of early releases with a big new outing that features two of his own tracks and one from the legendary Luke Vibert. Memory Box is a party that has hosted Derrick Carer, Trevino and A Guy Called Gerald among others, and is a place to hear proper acid house. Ball himself is a master of the genre and most often released on his own Groovepressure label, having been making music since his teens. Now his latest labour of love is once again reaffirming his status as a vital voice in the UK scene. Luke Vibert has a rich history that makes him a key part of the UK's dance counterculture over the last 30 years. His always animated music is wild and inventive and comes on greats like Mo Wax, Warp and Planet Mu. Here he offers 'X to C', a wild melange of warped synth tones, grizzled basslines & acid flashes. It will twist and turn the dance floor inside out. Robin Ball's excellent 'Gripper' is a corrugated bit of electric house music that never sits still. Pensive pads in the background are offset by a busy lead synth line and old school stabs that make it a perfectly timeless, energetic fusion of moods and grooves. Lastly, Ball serves up 'The Edge,' a brilliantly brash cut with stepping acid sequences, raw drum work and warped bass that distills decades of UK music into one essential track. These are three devastating club cuts that expertly draw on the past, present and future of acid.

Sketches by Jorge Antony Stride is a compilation of compositions edited or created from longer improvisations and ideas made in 2017. The basis of these songs were experimental in nature, though mainly to serve as documentation of ideas and development.

Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

The tail end of 2018 saw the release of Oberman Knocks’ third album on aperture records, Trilate Shift, which was included in The Moderns Vol.2  written by Kevin Press (a book dedicated to the world’s great, currently active, avant-garde artists).

2019 sees the release of Remhex Coyles EP – neither companion piece, nor follow-up to Trilate Shift, but a standalone set of tracks with a different collective energy to them. Knocks steps out from the experimental room and heads towards a different kind of space, one that's less claustrophobic and subterranean – a place that’s more structured and in places more melodic than his usual output, but one where he still brings his own distinctive sound.

Before heading into the sound production for a new film, his first theatre piece and next album, this five track EP shows an electronic musician in total control of every last detail. The surprising shift of focus in these tracks displays an alternative approach to his output whilst retaining the usual attention to sampling and manipulating sounds, combining them with a more regimented logic and groove than is usually apparent.
These undeniably enjoyable tracks show a desire to have a more playful immediacy, with a different sound palette and a drive to forge Oberman Knocks’ sounds into something that would be as likely to be played out as listened to at home.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

SN Variations is pleased to announce its 5th release.Adrian Corker returns after a break living in Warsaw with two tracks composed for Lock Grooves recorded onto acetate,percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.

A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM.Having used lock grooves on film scores for British film Waiting for You and The Have Nots directed by Florian Hoffmeister, Corker wanted to explore their potential further in a standalone more percussive release. He used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. These are combined forming frames for performances of violin, percussion and piano.

The record will be released on a vinyl pressing of 250 copies and download on July 5th

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Having discovered electronic music at the end of the 90’s, Thomass grew up going to raves where trance was one of the main styles played at this massive partys. The influence it had on him was planted deeply into his DNA and this EP is the interpretation he has these days of the genre. He moved on to different pastures soon after but the style was already in him. Thomass now takes the old fashioned elements he still likes and takes them to new directions. Fueled by gated chords, dreamy arpeggios, trippy vocals and percussions this tracks are destined to take you back into the past and bring you right back to the present. Forget what you learned. Trance not trance.

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill).Recorded over an intense two-day session, 'Clap Your Hands' is heavily influenced by the classic soul jazz recordings of The Young Holt Trio / Young Holt Unlimited, and Ramsey Lewis, from who this group take their name. As with many of the classic Ramsey Lewis cuts this album was recorded live, capturing the rich inter-relationship between the players and leaving in some of that chunky room noise.

Claps your hands/Stomp Your feet was recorded during the sessions for the upcoming Album 'Clap Your Hands'. building on the template set by their eponymous debut album these tracks further explore the 60's soul-jazz of Ramsey lewis and Young-Holt and the latin boogaloo of Eddie Cano and Pete terrace. A-side 'Clap your Hands' opens with cowbell, handclaps and bass before drums and electric piano enter to carry the track onto the dancefloor. This is one for the Djs and it'll do the business in the clubs for sure, but, also perfect for a late night, sweaty house party - shoes off and beer in the sink. B-side 'Stomp Your Feet' is much more in the classic mod-jazz frame with a faster pace and funkier drums, but still with handclaps and electric piano to the foreground. Drummer Hobbs opens up 'Stomp Your Feet' in fine style, and The Lewis Express start to swing with a Ramsey-esque groover that's just made-to-measure for dancers. Everything comes together here, with a mid-60s Cadet record feel throughout. Both tracks were recorded live to tape and were recorded and mastered for a tougher sound perfectly suited for djs to fill a dancefloor.

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.