Suche:together

+ Bonus 7" 400 ltd!

Christina Aguilera, Donny Hathaway, and Gregory Porter. If you are curious to learn how these three names are connected with Movements Vol.10 then all you got to do is to keep on reading.

Those of you who have been enjoying Tramp Records' Movements series from the very beginning know that this series is not just about funk. It actually covers a wide spectrum of genres: early Rhythm & Blues, Soul-Jazz, Latin-Soul, heavy James Brown-style Funk, and mid-70's pre-Disco. The track listing is, as on all previous volumes, selected in chronological order.

For this, our 10th jubilee album, we go back in time more than 60 years. The Frankie Greer Quartet opens the set with their beautiful composition "Spooky". Just as sweet is "Early in the Morning" by the Bill Beau Trio which was recorded in 1958. What Eunice Haze, Phylis Hendricks and the Eddie Buster Band have in common is the fact that each of them has recorded only one 45rpm single in their musical career.

Johnny Spinosa's "Come On" is a fierce Rhythm 'n Blues monster of the highest order. The same goes for The New Philadelphians. No one would question if "The Mustang" was announced as an unreleased Blue Note recording by Lou Donaldson from 1968. Cleveland Eaton, who became one of the most versatile and best jazz bassists in 1970s, started out with his band The Kats in the late 1960s. "Under the Covers" was arranged by none other than Donny Hathaway (of "The Ghetto" fame) with who he has worked closely together in his early days.

Probably one of the finest and most sought after versions of "Coming Home Baby" out there has been recorded by a german dude and bis band, Ronny Pellers Satin Sound. Another excellent cover version is delivered by The Lido which should leave any latin-jazz fan speechless. "El Mexicano" is an inconspicuous little groover while the next two tunes by Herb Crawford's Jazz Ensemble and The Runningboards are more in the soul-jazz vein. Listen to the dummer on "Louisville Assembly Plant" who goes nuts!

Exhilarating, previously unreleased recordings by Derek Bailey and his guests at Company Week in 1983: Jamie Muir, Evan Parker, Hugh Davies, Joëlle Léandre, John Corbett, Peter Brötzmann, Vinko Globokar, Ernst Reijseger and J.D. Parran.
What’s remarkable throughout this album is the respect and affection the musicians show for each other, exemplifying the dictionary definition of ‘company’ as ‘the fact or condition of being with another or others, especially in a way that provides friendship and enjoyment.’

It starts with Landslide, a brilliant, spiky, spluttering, twanging reunion of Music Improvisation Company members Evan Parker (tenor sax), Hugh Davies (electronics) and Jamie Muir (percussion). Next up, Seconde Choix, with Joëlle Léandre’s close-miked prepared bass and Bailey’s acoustic guitar seemingly heading in different directions before coming together miraculously in just four minutes.

The opening of First Choice, a duet between Bailey and Muir, is a revelation for those who moan that the guitarist plays too many notes. His patient and truly exquisite exploration of harmonics is beautifully counterpointed by Muir’s metallic percussion.

On Pile Ou Face (Heads Or Tails) Davies concentrates on his high register oscillators, carefully shadowed by Parker’s soprano until Léandre’s deft, springy pizzicato lures them into the playground. JD In Paradise is a surprisingly delicate wind quartet, with John Corbett’s trumpet, fragile and Don Cherry-like, punctuating the sinuous interplay between Peter Brötzmann and J.D. Parran (on sopranos, flutes and clarinet), while trombonist Vinko Globokar growls approvingly in the background.

Igor Stravinsky’s definition of music as the ‘jeu de notes’ comes to mind listening to Bailey’s duet with cellist Ernst Reijseger (executing fiendish double-stopped harmonics with staggering ease). Technical virtuosity has never sounded so effortless – it is, as its title Een Plezierig Stukje simply states, a fun piece.

On the closing La Horda, Bailey and Reijseger team up with the horns for what on paper looks like it could be rough and rowdy sextet but which turns out once more to be a thoughtful, spacious exchange of ideas, shapes and colours.

Following the 360-degree drum & bass experience that is ‘Waveforms’, Logistics continues his three-part EP series, linking the sounds of past, present and future on the ‘Headspace’ EP. With seven solo albums, six EPs and several collaborative releases under his belt, Logistics is one of Hospital Records’ most prolific artists. He’s joined by the lyrical extraordinaire Inja and the vocal stylings of family mainstay Thomas Oliver. Opening this four-track EP is ‘Stay True’, a sublime dose of rolling liquid with the workings of New Zealand’s singer/songwriter Thomas Oliver. Atmospheric pads, nimble organ work and graceful harmonies come together for an elegant dose of Logistics’ drum & bass mastery. Following a path of deeper liquid is ‘Rebuild’ with its low rumbling frequencies and super sharp sonics, topped with layers of mysterious atmospherics. On a darker tangent is the title track, ‘Headspace’, rolling and hypnotic, it’s a testament of Logistics’ long-standing ability to carve out timeless, melodic grooves. Switching up the vibe is ‘Brand New Beginning’ featuring the enigmatic Inja. Setting the tone with tranquil hip-hop beats, this nod to Inja’s history outside of drum & bass transitions into an upbeat number, beaming with Inja’s trademark positivity. As one of the most renowned artists in drum & bass, Logistics’ reputation is far-reaching with regular presence across major radio airwaves with support from the likes of the BBC’s Annie Mac, Rene LaVice and Mary Anne Hobbs. He can be found at festivals and events worldwide in 2020 including a main stage set at the forthcoming London D+B takeover, Hospitality Returns To The Dock.

British DJ and producer Inland (Ed Davenport) has compiled and mixed 'Stream State', his biggest project to date, bringing together over 20 artists in a DJ-ready compilation of colourful, diverse modern techno on his label Counterchange.

Complete with a 90 minute continuous mix by Inland himself, the project celebrates over 15 years behind the decks and cements Davenport's reputation not only as a tireless force in the studio, but as a trusted selector and curator of contemporary club music. Spanning deep idm-rooted studies, lush chord-driven euphoria, powerful modernist workouts and tough house-groove jackers, Davenport weaves an addictive mix full of character and his precision mixing style.

From veterans and heroes like DJ Skull, Efdemin, Joel Mull, Boddika, Peter Van Hoesen, and Mark Broom (alongside Discrete Circuit), to a new echelon of up-and-coming talent like Rhyw, Sophia Saze, Jamaica Suk, Johanna Knutsson, Aiken, DJ Sodeyama, Perm and Felix Fleer, there's an underlying thread of shimmering production values and close attention to detail in every track. Inland also selected debuts from Berlin based artists Fred Mann and Arbitrage, and welcomes back BNJMN, P. Lopez and Distant Echoes to the label, now in its 7th year of operation.

'Stream State' is Inland's celebration of the DJ mix / compilation format. Enamoured with UK dance music culture in the mid 90s, the burning, illicit energy of early rave mixtapes left a huge impression. Mystical bootlegs recorded at mass gatherings in fields or late night Radio One transmissions captured on cassette - their eternal spirit was absorbed and cherished. Now more than 2 decades later, Davenport has channeled that fascination into this weighty collector's item and a captivating continuous mix.

All 22 tracks included are new and original productions made by some of Inland's favourite artists and colleagues. A network and a community - complied and presented by an artist who continues to demonstrate his longevity and unique voice in the scene.

We are very proud to presents this official and first ever reissue of The First Coming, by Twylyte ’81, an extremely rare and underrated Soul-Jazz album produced and released in 1981. Twylyte ’81 was a 3 pieces band composed of Frank Jones Jr., Alfred Brown Jr. and John
Belzaguy, who, except for John, have never recorded anything else than this incredible album. The First Coming is primarily standing out by a superb composition, mixing touch of Soul, Jazz, and Disco together. It secondly shines thanks to the amazing deep and spiritual
voice of the band leader, Frank Jones Jr., whose vocals style can sometime remind of John Lucien. Even more impressive is the fact that these 3 fellas were all less or close to 18 years old when composing and recording this beauty. As did others brilliant hidden projects such as Ted Coleman Band, or Minority Band, it was also useful for Twylyte ’81 to receive the support of JSR Records, a kind of non-profit label dedicated to help young bands and artists in recording and producing their own records. Here are a few words from Al Brown Jr. about this release: “After 38 years, I still have the euphoric feeling while listening to this album. I would say that this was one of my greatest achievements. I want to say "Thank you" Pascal Rioux and associates for sharing the group's vision with the rest of the world. I pray the listeners will feel a portion of what we tried to convey through these songs. When I first began this project, I thought it was just killing time. Being 17 years old at the time, I didn't see the music we worked on being recorded. We (Frank and I) were in a basement practicing each song. Who knew that this music would be recorded let alone picked up 38 years later? I still remember every beat, drum roll, every stop/start; everything. Wow, the nostalgia of it all. I wish this album much successful and I hope in the future I can perform this album live.

Berlin-based Frag Maddin bursts onto STRCTR with four hefty cuts. Maddin, whose hard-hitting sound has touched Mistress Recordings, Madhouse Records, W&O Street Tracks and Snatch! in the past makes his way into 2020 in style.



Side A’s lead track kicks of the label’s sixth release; the aptly-titled ‘Industrial Deafness’, is one warehouse-proof, downright dirty jumble of loose 4x4 drums and hardware groove. Nick Behringer’s remix forms its own subtle groove with a minimal house edge – more intimate bar, less cavernous warehouse.



Side B’s ‘Stuhltanz’ has floating flutes, jazz keys and one catchy vocal sample – a weighty kick and bumping bassline brings it together. And the DOS remix takes the euphoria of the special track one step further, adding a warm break and a complimentary sprinkling of acid.

M!R!M is the solo project of Jack Milwaukee, italian multi-instrumentalist based in London since 2011. Inspired by early 80's synth pop, cold and dark wave, M!R!M has been releasing on labels as Fabrika and Manic Depression. Since his debut album, he’s been touring and playing shows all around Europe building an important following and a significant name within the scene.

On January 31st, 2020, Avant! Records will release his third full-length, The Visionary. Still featuring Milwaukee at the helm along with selected collaborators as supplementation, The Visionary is a further evolution in M!R!M sound, which showcases how the musician’s vision has evolved throughout the years.

Holding firmly to the vibes that recall the most dreaming 80’s, Jack Milwaukee this time blends together that typical FM synth timbre, which has always characterized the artist, with deeper and sumptuous sounds found within the notes of Mellotron and sax; overcoming previous Lo-Fi approaches to undertake a solid, prominent and more mature path.

The Visionary is a collection of songs pieced together in a meaningful and harmonious way where the storytelling is very vivid and fundamental. Trapped between hope and melancholy each track evolves smoothly into another one until it gets to a mystical end, a point of no return. From syncopated punchy bass lines drove by solid drum beats to elegant violin quartets accompanied by almost religious choirs, The Visionary is an engaging work that doesn’t remain only inside the robes of shimmering synth-pop tunes but also explores more intimate and private territories as an ode to the most deep feelings.

Pulling from the ‘pop’ approach of mid 80’s synth-pop pioneers like New Order, The Wake, Tears For Fears to most iconic figures of the Italian 80’s era, M!R!M dialed in on a clear understanding of it's own specific sound, which has since evolved. The Visionary is the ultimate unified vision of M!R!M’s work, it’s the sweetest transition of the most nostalgic daydream.

Soul Jazz Records set Sounds of the Universe:
Art + Sound 2012-15 features some of the heaviest Afrofuturistic producers out there, PITCHFORK.

Soul Jazz Records new Sounds of the Universe: Art + Sound 2012-15 is a new double album CD (and two separate volumes of double-vinyl) featuring a line-up of some of the most forward-thinking and progressive artists and producers working with electronic music around the world today.

This lovingly compiled collection features a stunning array of contemporary artists: Chicago’s Afro-futurist genius Hieroglyphic Being; Kaseem Mosse (aka Gunnar Wendell/Siege of Troy), one of the most talked-about, respected artists in underground house and techno; out of Detroit’s Moodyman stable comes Andres; also featured is Los Angeles-based Ras G, associated with the Brainfeeder label established by fellow producer Flying Lotus; and many more!

This new collection features a first CD of tracks recorded exclusively for Soul Jazz Record’s bespoke Sounds of the Universe label. These were originally issued under their Art + Sound series between 2012 and 2015 as unique hand-etched and original commissioned art pieces (reproduced here) collectors’ 12” singles - all pressed in micro-editions of 250 copies for each artist’s release that were only ever available exclusively from Soul Jazz Records’ boutique Sounds of the Universe shop in Soho, London.

The second CD features a fantastic set of all brand new exclusive tracks from the likes of Seven Davis Jr, Drexciya collaborator DJ Stingray, deep house virtuoso Mike Huckaby, Glaswegian noise-punk six-piece Golden Teacher, and lots more – all created and commissioned especially for this release. These songs are not available anywhere else in the world.

Together these 2CDs comprise an amazing selection of new progressive electronic music.

This album is released as double CD pack with slipcase and booklet. It is also available as two separate limited edition double vinyl editions in heavyweight vinyl and gatefold sleeves with full artwork + free download codes, and as a worldwide digital release.

Latest Vaerel Records artefact limited to 200 copies, bringing together 5 different visions of the label's esoteric aesthetics. The manager of the label Raar bringing powerful percussion accompanied by samples of "Making of a Cyborg". Newcomer Quelza provides us his signature techno with broken rhythms and intriguing synths, then AWB continues to hypnotize us with his deep techno and finally Zadig & Ruhbarb team up for a tool full of high-speed drums and sharp cymbals.

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

Zenit is a jazz ensemble from Krems in Lower Austria, founded in 1976 by Hannes Treiber and Willi Langer. Their music was celebrated locally, but to reduce them to their local fame would be a shame: After all, their first two LPs, Stimmungswechsel (Change of Moods) and Früchte (Fruits), quickly gained them a much wider audience of discerning listeners. Arguably, however, Zenit’s third and final LP Straight Ahead is the most special of their records. It initially came out in 1986 on the producer’s label Spray Records, and is today one of the hardest-to-find Austrian jazz records. Its centrepiece is the infectious slow-motion disco piece “Waiting,” with vocals by American jazz singer Linda Sharrock. Effortlessly bringing together pop, soul and new age vibes, this is a record that is as unique as it is difficult to date. Does it sound like from the 80s? We’re not sure. To our minds at least, it could also be from the future.

Succeeding last year’s collaborative single ‘Feel My Butterfly’ which saw Chicago house DJ/producer Parris Mitchell and Siberian producer-singer-songwriter Nina Kraviz go head to head via Riva Starr’s Snatch! Raw and Dance Mania, February 21st sees the two labels combine once more for a special, two-sided remix package of the stellar ghetto house track featuring reworks from the likes of Jamie Jones, Dance System, DJ Deeon, Radio Slave and DJ Slugo.

‘Feel My Butterfly’ stemmed from Nina Kraviz’s trip to Chicago where she met with Dance Mania’s label crew including their influential selector, Parris Mitchell. The track was birthed from a bout of rare collaborative studio sessions and is their first official release together - their only previous encounter being in 2014 when Kraviz remixed Mitchell’s ‘The Track Stars’, on Berlin-based label Deep Moves.

Assembling a handful of some of the most prominent names in modern dance music, Snatch! Raw teams up with Dance Mania once again to now present a comprehensive remix package of the duo’s acid-laden, dancefloor-ready masterpiece. Providing a touching tribute to the late influential American house artist and Wallshaker Music founder, Aaron Carl, the illustrious Welsh house DJ/producer Jamie Jones kicks things off by inflaming the track’s heavy bass and percussion by adding his own laser-style synths and atmospherics.

Reinforcing ‘Feel My Butterfly’ with helpings of meatier, old school house rhythm, the second remix sees London’s Dance System team up with Chicago house pioneer DJ Deeon to provide the track with some well-placed elevated pace and precision. On side B, the British-born Berlin-based DJ, Radio Slave takes more a of stripped back approach by opting to just few vocal snippets from the original and setting them to a tougher techno-infused aesthetic, whilst on the final rework, Chicago’s ghetto house spinner DJ Slugo redefines Kraviz’s hypnotic vocal lead.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with his fourth album 'My Life at 45'. The eagle eyed will have spotted the connection to the good Doctor's second album – 'My Life at 33' - and fans can do their own maths as to when they should expect the final RPM-punning release in the trilogy.

Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

The new album brings together stunning vocals from John Turrell, Izo FitzRoy and Stephanie Whitelock, whilst the instrumental tracks, showcasing the talents of long-time collaborators Jim Oliver, Jonathon James and Ben Castle, make it clear just what a crack production outfit the Doctor has put together. Got a lovely quote from Fatboy Slim: "Very soulful. Doesn't sound too retro. Just fabulous...."

UK Radio support has come in from BBC Radio 2 and 6 Music from Craig Charles (Spot play Trunk of Funk feature), Huey Morgan, Rylan and Paddy O'Connell. US Radio on KCRW from Jose Galvan, Karene Daniel and Garth Trinidad.

WW Specialist plays have come in on WWFM, JazzFM, Radio Krimi, Solar Radio, Radio 1 Prague, WMPG, Milk n Chocolate, Rai 1 Italy, KaneFM, Cannibal Radio, Radio Z Nurenburg and Radio Nova Portugal

Press: Bandcamp: New & Notable, 45Live, Sphere Of Hip Hop, Word Is Bond, The Dutch Guy, Last Day Deaf, Monkeyboxing, Flea Market Funk, Staccatofy, The Find Mag.

DJ support from Fatboy Slim, Laurent Garnier, Dj Yoda, Renegades of Jazz, DJ Andy Smith, Auntie Flo, Doc Scott, Smoove, Chicken Brothers, Crazy P, Satin Jackets, Marc Hype, Mr Benn, Mat The Alien, Basement Freaks, Renegades Of Jazz, The Allergies, Hint,

Tim Digby-Bell, Peter Kriek and Ariaan Olieroock are Cubicolor. In 2016 they released their debut album ‘Brainsugar’ via acclaimed independent label Anjunadeep. Accumulating over 40 million streams, the album won praise from Mixmag, Resident Advisor, Consequence of Sound and DJ Mag, who described it as “a startlingly accomplished debut” in their 9/10 review.

Originally an electronic duo comprised of Dutch producers Ariaan and Peter, Cubicolor became a three-piece band with the arrival of British singer-songwriter Tim in 2015, after collaborating on breakthrough single ‘Falling’.

A published poet and playwright, Tim’s musical upbringing was rooted in playing guitar and listening to Nick Drake. Combined with Ariaan’s encyclopedic knowledge of electronic music and Peter’s love of late romantic classical, created what Clash described as “a beautiful, haunting fusion of ideas.” In 2018 the band delivered, and then shelved, their second album…

“It had twelve tracks, a different name, all the artwork was done and a date was set for it to be released. We got home and listened to it, then called each other and decided to drop the whole thing. The next week we went back into the studio and started again.

We loved the record we made but for some reason, it didn't feel right, so we didn't keep anything, we shut ourselves on the boat in Amsterdam where we work and didn't stop until we'd written a new album.” A year after going back to the drawing board, the trio now presents ‘Hardly A Day, Hardly A Night’.

Inspired by the cycles of time, and the cyclical movements of the planets, the new 12 track record weaves together themes of loss, hope, and acceptance. “There were a lot of moments when we weren't sure we'd ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again.

It feels like a lifetime has passed but the world keeps spinning and I guess we knew we would eventually find our strength and make the album we wanted to make.” Showcasing their remarkable production techniques and textured sound design throughout the album, Cubicolor continues their unconventional rise to the upper ranks of the electronic music world.

The band will celebrate the album release with a listening event in London in February 2020, before taking their live show to festivals around the world in the summer.

Their 2016 debut album ‘Brainsugar’ picked up wide spread support including backing from BBC Radio 1's Annie Mac, Pete Tong and Phil Taggart, BBC 6 Music's Nemone and Tom Ravenscroft, Joris Voorn, and Kölsch and accumulated over 40M streams. 'Brainsugar' - Press pickup included Mixmag, RA, Thump, Consequence of Sound and the album was given a 9/10 review in DJ Mag.

Cubicolor are Amsterdam based producers Ariaan Olieroock and Peter Kriek, and British singer-songwriter Tim Digby-Bell. They made the album on Peter’s studio boat in Amsterdam. Ariaan built the custom modular synths, mixing desks and speakers that the band use in their studio - every Cubicolor sound is created from scratch.
They also DJ and release music as 16BL on Anjunadeep. one of the labels most loved and legendary acts, responsible for some of the biggest releases in the label's back catalogue.

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

Eastwood Rides Again follows the theme of Lee ‘Scratch’ Perry & The Upsetters previous classic, Return Of Django - and like that one, the groove isn’t just the rocksteady rhythms you’d expect – but also maybe this more spacious version of the style. They got their funk on with the inspiration of Spaghetti Westerns and soul music. The record is largely instrumental and it's a representation of Perry’s significant production skills. Lee ‘Scratch’ Perry was a pioneer in the 1970's development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Paella Hair Sex is the beginning of a new chapter in Alexis Raphael’s musical story. The first two EPs will be from the label boss himself, kicking off with ‘Digital Music Almost Killed Me EP’. Then attention turns to new artists joining the PHS family - please email demos to paellahairsex

Alexis came to prominence in 2011 with his seminal track ‘Spaceship’ and followed with a series of lush, sexy and warm house records that gained universal praise and put Alexis’ sound all around the world with fans from Australia to Peru. As the music and scene evolved, so too did Alexis’ sound becoming somewhat harder whilst still retaining some of his signature elements; references to acid house, hardcore and jungle, deep pads and sweet vocals.

However, by 2016, Alexis had become somewhat disconnected with the path of the music and scene he was involved in. It took a long time to put together what was wrong, but what followed was a three year path to this point now of launching PHS.

A return to and playing vinyl at the end of 2016 was the first step to finding his love again and feeling good about the music. This was followed by a halt to gigs where the music expected from him was different from what he wanted to play and a feeling of disconnect from the crowd. Then came the gradual move away from constant social media output.

The final and most important part of this transition was going back to making music simply without any thought of where it can fit or who can play it, or what label it will go into. In essence this is a return to how Alexis started - making music solely from the feeling inside.

And so PHS returns to some of that more sexy, emotive house music that Alexis was originally known for, but with a fresh sound for the new decade.

Paella Hair Sex is set to be a representation of the music Alexis loves, both his own and other artists.

The first EP: PHS001 – Digital Music Nearly Killed Me kicks off with the main room groover ‘Respect & Belief’ . A jazz-infused bass line underpins chunky rolling beats, punctuated with vocal samples calling for unity and love and laden with floating classical pianos and warm pads. A definite party banger !
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The second A side track “Sex Appeal” references back to Alexis’ original signature House sound. An emotive and sexy track bound to get temperatures rising on the dance floor .

Flip to the B-side and find the after party brother of Respect & Belief - ‘Liberty’. A seminal minute long speech paves the way to the single breakdown moment of the track when lush Jupiter-8 chords make way for an epic moment as the beats drop back in. A unique piece of minimalistic House music for the after hours .

The bonus track, House of Chorge. ends the EP with a bang. An upbeat cheeky groove that stays in your head long after the turntable stops spinning. But who is Chorge.?

xDream is the re-awakening of the child spirit. The child spirit lives everywhere: in our memories, the corners of our emotions, moments of mischief and euphoria, and whispers in the trees. In our youth, it grew from a seedling into the shape of the internal conscience, that little voice in your head that tells you right from wrong. The debut album by Dasychira features contributions by fellow artists Malibu, Embaci, and Baby Blue, as well as live violin by Iglooghost collaborator Vivek Menon and voice acting by mirukii and daisyvoice. Dasychira completed an Asia tour this year performing A/V sets with Yikii in Shanghai, Shenzhen, Hongkong, and Shenzhen before going to Seoul, Taipei, and Tokyo. xDream was released digitally on Halloween 2019 via Blueberry Records x UNSEELIE with music videos by Awe Ix, Dante Capone, Slama & Delong, and others.

7"

Kalakuta Soul Records is back and starts the year with a new collaboration with one of the most inspiring record stores and well of fortune for all music lovers, especially for those who enjoy carribean music and the profound musical heritage of Jamaica - the infamous Bahlo Records.

For this first release, both have created a new imprint that brings both labels together and goes by the name KABA that stands for (well…) Kalakuta Soul Bahlo Records.
For their first collaborative release, they were able to license two songs originally released on a private pressed LP by the mighty "Golden Sunshine Steel Band" in 1980 that will definitely wave you through day and night, whether you're listening to it at home, on the road or in a furious set on a mind-blowing sound system.

More releases will follow through 2020!!

Rarely does a record so perfectly encapsulate the essence of Hawai‘i.

During the 1970s and 1980s, Hawai‘i’s live music scene was at its peak. Countless clubs, lounges, and bars filled the islands. Musicians embraced and experimented with all manner of ideas.
Among them were Steve Ma‘i‘i and Teresa Bright, a harmonizing guitar-and-bass duo that floated somewhere between nostalgia and an unassuming island sound. They could fill a concert hall or bring the family together at a backyard kanikapila with their music.
Both singers share backgrounds rooted in native Hawaiian culture; Steve once the bassist for musician/ activist George Helm, and Teresa the daughter of hula dancer Carol Bright and musician Daniel Bright. Together, they crafted a refreshing approach to jazz standards, traditional Hawaiian tunes, and hapa-haole classics.
Steve and Teresa enchanted every listener they encountered, including engineer Rick Keefer, who convinced the pair to record at his Sea-West Studios in nearby Hau‘ula.