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Cameroonian Joe Bisso's earliest musical influences didn't come primarily from his homeland, but more from the neighbouring Congo, where the kind of early 60's Congolese Rumba played by the likes of Franco / TP Ok Jazz, and Tabu Ley Rochereau was establishing itself as a musical force in the region.

Alongside this exuberant, swinging, jazz influenced sound, the growing impact of the all conquering US soul titans became inescapable, and sprinkled with a bit of Johnny Halliday & Co's smooth chanson over the top, we get a snapshot of where Jo Bisso and friends post school musical experimentation was headed in the late 60's.

As that decade drew to a close, the single minded Bisso headed off to France to begin his quest for the future, and by 1972 could afford the journey to the US that he'd long dreamed of.

Enrollment at the Berkeley School of Music in Boston soon lead to a new band coming together, and by 1974 the all conquering, multi faceted approach that marks Bisso's musical career, meant he'd written, produced and sung on his debut single for the mighty Decca Records. 'Flying To The Land Of Soul' drew heavily from James Brown's propulsive dancefloor funk, whilst wearing it's African colours loud and proud via 'African Express' chants, and drums front and centre.

At the same time, Bisso and friends had started to immerse themselves in the fast emerging disco sound pulsing outwards from Downtown NYC into the Boston nightclubs, and by the time his debut album 'Dance To It' was released on France's influential Le Disques Esperance in 1976, it was the driving, 4/4 floor power of disco that was to define Bisso's sound on that, and the following two albums.

Whilst Bisso's immersion in Disco was based around it's energy and musicality (rather than any associated hedonism), 'African Disco Experimentals (1974 to 1978)' paints a picture of an artist dedicated to the underground club side of the scene, rather than focused exclusively on the fast emerging pop potential of the sound at the time.

The album's tone is set by 3.20 mins of building, tribal percussion and rolling rhythms of the opener 'Love Beat', a 'strictly dancefloor' approach mirrored in the near 11 mins of 'Love Somebody', building from soulful keys to deep bass funk, extended percussion breaks, joyous squelchy Moog licks, breathy vocals and more (interesting footnote : Bisso is credited as Producer / Writer / Arranger, but 'Recorded by' is attributed to Joe Chiccarelli, better known in recent years for his work with The White Stripes, Shins, and Broken Social Scene.)

Still clocking in at a healthy 6 mins plus, "The Mystery With Me" (1978) makes a nod towards more radio friendly waters with it's hooky, floaty choruses and tight structures (a then 22 year old Arthur Baker is credited as sole writer on Discogs - Bisso himself doesn't seemed convinced by this idea, but that's another story...)

'Let's Keep it Together' (1977) loops the song title over a slower groove, with free form electric guitar licks adding new textures, whilst 'Disco Madonna' (1976) showcases Bisso at his most playful, combining spoken word Hispanic vocals, rattling percussion and more of the always welcome Moog, switching up keys at the end for an unselfconsciously camp finale.

And if anything sums up the ambition of Bisso's work in the field at the time, 'Play Me' (1978) can lay claim to being the magnum opus. It's presented here as a continuous 16 minute extravaganza (as opposed to the 4 parts it came in originally) : lush strings, hypnotic vocal sections, irresistible basslines, crisp drums, the odd Barry White style interjection, disco moans, the occasional nod to a chorus vocal. None of it seeming in much of a hurry to go anywhere in particular, choosing instead to joyfully revel in the expansiveness of the form.

Pique-nique Recordings is proud to present 'Investigate and Enjoy', a deep musical conversation between two of New York City’s most prolific musicians, Dave Harrington and Kenny Wollesen. Harrington (Darkside) and Wollesen (Sex Mob) use a shared language of texture, groove, and space to craft intricate, free-formed, and inventive experimental music.

Wollesen’s forceful percussion opens up side A, which grooves heavily underneath Harrington’s skittering electronics. The flip side features sparse yet rich guitar tones on what Harrington and Wollesen refer to as an “improvised ballad.” Both pieces resonate with a powerful mood as hints of late-Talk Talk and Battles permeate these unique recordings.

This release is part of an ongoing series that aims to capture the New York City jazz scene in its current, always evolving form.


"Of all of the things we've done together over the years, playing as a duo has been one of the most special to me. We never rehearse, we never play any songs, but Kenny and I find ourselves writing music together in real-time. Kenny is the rare drummer who has the ability to not only supply a sort of canvas for another musician to work inside of and to paint harmonically on, but he can make the frame around it, and he can splatter paint himself in a meaningful way that has the power to change the whole shape of the shared dream of an improvisation.

We have recorded together a number of times over the last several years and this music came out of one such meeting. While it is no exaggeration when I say that having my name next to Kenny’s on a record sleeve is a dream come true, the real dream is getting to make music with a true master." - Dave Harrington

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert



This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it.

This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs.

This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence.

Guilherme de Alencar Pinto

Tramp Records continues their pilgrimage to the soulful fringes of spiritual jazz and progressive rock and funk with their 3rd and 4th volumes of their "Peace Chant, Raw, Deep and Spiritual Jazz" series, and the world could not be more ready.

As we turn together on this tiny blue ball hanging lonely in space, and as we together face existential threats ranging from climate catastrophe, the rise of brutal authoritarian regimes, the breaking of the industrial storm and the imminent collapse of empire, not to mention the raging covid-19 crisis and the continuing racial and social struggles across the globe, we are thrust into a society-wide grand awakening that has been in the making for a very long time. Of course, our musical teachers have trod this path before us, and have worked out solutions to these problems, the songs of the Peace Chant series ring out loud and clear as our ancestors' proof of concept. They say history repeats herself, maybe it's because we weren't listening the first time. Thanks to Tramp Records, we have been granted another opportunity.

Today, the musical and spiritual truths enshrined within the spiritual jazz diaspora seem to be more and more sought-after, and crucial at a time when we as a society seek higher and farther for those bold truths. With each generation, that truth doesn't change, and the artists featured in the series speak those truths along a continuum that ranges from the late-60s up to the present day.

Volume 4, the second LP opens with a gorgeous and lush Wurlitzer-oriented big band piece that among its many treasures also features the 17-year-old visionary-saxophonist-to-be, Steve Coleman in his alleged first recording! The contributions of Brother Yusuf Salim and Bus Brown, figures who should be very familiar to Tramp Records aficionados, are consecrated here with a live recording of Freedom from one of Brother Yu's last public performances. One of the two European contributions to the comp, Attitude, by Organic Pulse 'onesemble', reads like a double entendre, the word "attitude" meaning simultaneously one's disposition or state of mind, and also one's orientation relative to the horizon. The Peace Chant series continues to touch all the sacred meridians: more devotional music with James Scales & All Stars' Ser-Vi-Tude, trance music of non-dominant traditions with Donn Preston Group's Ghana-Cha!, a modal and blue organ trio offering from Tommy Jones, and closing with a rich and righteous ballad, Quernemoen, from the Wayne Powell Octet.

Peace Chant is the center of the mandala, representing the nucleus of the post-bop, modal jazz, avant-garde, transcendental, spiritual, ethnic, and freedom music universe without necessarily suggesting anything immediately identifiable as any of the above. This is the soundtrack to the raising of human consciousness and the salvation of society's very soul.

We give thanks to Tramp Records for leading our thirsty hearts to this rich fountain.

To accompany the 18 track, 2 x CD Planisphere – Atmospheres release, we’re delighted to present another duo of vinyl for the purists. Atmospheres 2 x 12” Vinyl Album Sampler will feature 5 remastered originals alongside the brand-new Atmospheres. George and Laurent continue to click in the studio, and as the excitement built over the last few months, we just knew they were going to create greatness once again.

Vinyl 1 will house the main track Atmospheres. Taking up Side A, this hybrid groove encapsulates that Planisphere sound beautifully. Theatrical, cinematic, melodic and intriguing. Ambient sequences join a tight breaks pattern before a more driving bassline takes over along with 4x4 beats, leaving us thoroughly gratified and wanting more. On the flip, we have two gems. B1 has So Many Ways, a track that found its way into sets from the bedroom to the mega-party and beyond. A real epic, progressive trance groove filled with swirling, captivating pads and a melody that juts melts into your soul. B2 hosts Lektrophony, a solid breaks track that locks you in with its hypnotic charm and 303 lines. A relentless groover, the breakbeats are so addictive and the acid lines give it a real nice touch. Another epic smasher that never disappoints.

Vinyl 2 features the mighty Deep Blue Dream on the A side. With its relentlessly powerful bassline and dreamy melodies, this one remains a go to track to keep the groove solid. Besides the epic flavour of the track, the break on this is huge. Descending into slow moving pads, the arps never really fades before it all builds and builds into a wonderful climax, revealing powerful, sweeping strings and pads. Over on the B1 slot we have Cyborganic which intros with a Pete Namlook-esque arpeggio sequence alongside a deep droning bass before punchy kicks and huge synths take over. A proper peak time slice full of energy and drive. Rounding up this must have vinyl set in the B2 position, we have the impressive The Lost Planet, which was originally found in a superb two-part release, Sounds From Outer Space back in 2000. This one has everything, a Balearic groove with a spacey vibe. Undertones of 303 lurk as sweet, dreamy pad melodies allow us to drift.

This 2-part sampler is a must have for all vinyl enthusiasts, with limited quantities, keep an eye out for pre-order on our website and socials.

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music. His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Details: Alfredito "Sabor" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William "Quantic" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as "salsa" with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations. As Linares himself recounts, "In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few. We had to fight hard for our space in Perú, that's where the swing comes from." That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was "open-ended, some musicians came some days, others on other days_Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre." Though the recordings were cut "live in the studio" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela. Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

Complete with more gorgeous artwork from our favourite graphic designer, Animisiewasz, DP number 28 pops up offering four dance floor ready edits from one of our favourite young producers.

London based producer, multi-instrumentalist and artist Hoffy brings us five explosive disco/house monsters tailor made for when the clubs re-open and everyone goes ever so slightly nuts. With a couple of ridiculously uplifting releases on Forgot Records and a remix or two for Wah Wah 45s, of course, he knows how to move a crowd. His productions illustrate his deep love of classic (but never cheesy) disco, and an ability to create surges of energy even on the most docile of dance floors.

We hope you enjoy this craftily concocted quintet of soulful stunners that could easily sit alongside O'Flynn, early Romare and Dave Lee on your shelves. Another essential slab of foot friendly heat courtesy of your favourite Dubplate provider!

So here we are with another first – the next vinyl debut on Cheezy Crust Records as well as thefirst ever release for the two-piece project that is CVSO which is their „Basic Cuts EP“.
Comprised of Mainz / Germany-based producers Mint Huus who made his solo debut on Cheezy Crust in 2019 and Get In Touch head honcho Willberg their joint venture project CVSO caters a total of four tracks on limited to 200 copies 12“ vinyl, all aptly named after their individual
placement and position on the actual record itself.
Mastered by electronic music legend and pioneer Thomas P. Heckmann the trademark sound of CVSO presented on this EP is informed by classic early to mid-90s Techno and Intelligent Techno vibes with its ever evolving flow and stripped down aesthetic which fuses subtle harmonic changes, spatial meanderings within the stereo field as well as a hypnotic, time-dissolving attitude for heavy dancefloor abuse.
This said, CVSO are aiming for nothing less than their introduction to the ivy league of Techno with these „Basic Cuts“, providing classy, absolutely timeless and expertly assembled DJ tools which are aiming to perfectly blend in with and match the vibe of all those now classic tunes that have never left a DJs bag for a quarter of a century or more, even though CVSO are tackling their sound design and production approach with a modern contemporary twist.

Repress

Carthago: Rare Tunisian Disco Including Unreleased Instrumentals And Eight Page Booklet When we first decided to start Habibi Funk, a label dedicated to re-releasing "funky" Arabic music from the 1960s to 1980s, a band called Dalton was the first release we worked on. Dalton was a band from the Tunisian capital of Tunis and they played a unique mix of soul & funk with an Arabic DNA. We licensed the release from the band's composer Fawzi Chekili, and when we spoke to him on the phone in preparation of the release he mentioned another band he was part of, called Carthago. Our work with Habibi Funk is like a big treasure hunt. There are too many great bands that fully vanished into obscurity and didn't leave any traces in the digital sphere yet. We are so used to the internet providing all informations we might be looking for, but Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story.

Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up. The band's concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: "Hanen" and the outstanding disco version of the Dalton track "Alech" which has proved to work on every dance floor we played over the last two years.

When I came to Tunis for the first time after the Dalton reissue I met Fawzi in person. He still lives in Tunis and still works as a full time musician though his focus has shifted more towards Jazz over the years. Luckily he did not only keep a spotless copy of the Carthago album but he also kept the master tape of the instrumental versions of the album which to this day were unreleased. Being able to add exclusive content to a reissue is something that is rare and we feel highly privileged to be able to do so. Futher more we are so happy that we will be able to add something new to the bands legacy not only musically but also visually: One day I realized that most of the releases from Tunisia I liked, be it from Dalton, Carthago or Marhaba Band had the same photographer credit.Hassen Turki started taking photos at a young age and when he was 18 he started going to the gigs of the bands of the time that were playing in the Marhaba Hotel which was managed by his father at the time. He became friends with the bands and ended up being the person to be asked when it came to shooting the photos for the covers of the records. After some research I managed to get in touch with Hassen and met him in his hometown Sousse. Luckily he kept most of the negatives of the photos he took so we're more than happy to be able to share these unseen photos with whoever is interested.

When Yiğit Bülbül knocked on our door and put his debut album on the table, Fever took our hearts in a storm. The Turkish born, London based musician and producer knows how to craft his own contemporary avant-garde pop projections with a rich musical heritage shining through from the 1980s and 90s. His style erupts into silly, absurd moments of synth blurps, percussive extravaganza and psyched horns, It’s always colourful and trippy, but in a light way. It’s exactly what we want to release in a year of distress. The album is framed by two contemplative tracks, which are reminiscent of Holger Czukay’s oeuvre. The saxophone in the opening track "The Heath" undulates like an introvert leading voice in a meditation. The long and meticulously crafted ambient outro "Txalaparta" features a spoken word sample by the Basque folk musician Txomin Artola from 1978. The four tracks at the heart of the album are beat driven, percussion-heavy, loaded with synths and random horn samples. "Alo?" sounds like Snakefinger tries to get on a Skype call with Serge Gainsbourg. "Cacti All Over My Head" could well be a Ween instrumental with long arching synth lines over a slowed down bossa nova beat. Fever is a frivolous album which bursts with exalted charm and guest musicians. This is not another greetings-from-the-lockdown album, but with the obvious reference in the title it’s almost a tongue-in-cheek name about creative obsessions of our times. It's the debut album by the multi-instrumentalist Y Bülbül who has learned his trade working with various interesting artists and bands in London in the past 10 years. He is also a passionate crate digger and DJ. His own radio show is unerringly titled "Bülbül's Gemüsement Park", which airs on Netil Radio, a community broadcasting station in Hackney. Bonus fact, Bülbül is the Turkish name for a brown-eared passerine bird, one that's into singing.

2020 Repress!

After two self released EPs, Eterna joins the Modern Obscure Music family. In another musical life, Eterna is a drummer and a sound engineer. Here the Barcelona based artist presents a varied EP that features beautiful melodies backed by distinctive instrumentation and percussive arrangements. Remix duties fall to the wonderful LA based experimentalist DNTEL, aka Jimmy Tamborello. Regatta features choppy textured beats, a bold keyed melody and a smooth bassline groove. The “Jimmy Tamborello” Remix from DNTEL is composed of competing parts that fit together surprisingly well. A menacing bass, powerful stop start beats and spacey synths meet on this remix. 277 is the deepest cut, with emotional strings, almost steel drum sounding keys and layered percussion. A Day In The Life rounds off the EP with walking paced sturdy beats, modulating synths and a springy bassline. This is a truly versatile EP from Eterna.

After two years since her debut full-length release, Grand River presents her second album “Blink A Few Times To Clear Your Eyes” on Editions Mego. The 8 track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her 2xLP “Pineapple”, released on Spazio Disponibile in 2018.

“Blink A Few Times To Clear Your Eyes” expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives.

The album opens with the track “Side Lengths”, a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée’s own modified voice in the closing track “All There Now”.

Recorded primarily at her home base in Berlin, Grand River’s music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language.

German funk stalwarts The Mighty Mocambos unleash another sample of their explosive live energy, a 7" of two brand new tunes recorded straight to 8-track tapeduring JAM PDM! Breakdance Battle at Fabrik Potsdam on February 1st 2020.

"Arabesque Breakin' Suite" on side A is an original instrumental medley written for the occasion and delivers the raw, heavyweight sound that has made The Mighty Mocambos a staple of b-boy battles the world over. Side B is a cover of the Axel F Theme from Beverly Hills Cop, taking the tune from 80s synth-heavy electro-pop to soulful, tropical-flavored b-boy funk.

In these peculiar times without concerts, these live recordings are a real labor of love that capture the special vibes of a Mighty Mocambos performance while remaining suitable for DJ-use and enjoyable to the dedicated listener.

The 45 comes in a beautiful picture sleeve - a reproduction of the tape box used for the recording with a b/w photo from the event.

'Music For Theatre And Dance – Volume Two' is the second in a small series of EPs that will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it's more ambient or atmospheric works or whether it's in the more rhythmic or percussive pieces, Music From Memory brings together another selection of tracks that aims to highlight this highly innovative direction in music.

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

Our third release of the decade comes from another new signee, Barcelona-based Kodama, who teams up with Dubstep OG LX One for the heavyweight A side.

Cronauer
Uplifting bells and pad harmonies pave the way to a gritty bass assault, striking with the power of a meteorite coming from outer space. Cronauer unfolds as these contrasting yet complementing parts engage and interwine, driven by heavily-swung hard-hitting drums which turn the track into a club weapon.

Piranha Plant
Time to turn page and enter the next chapter: Piranha Plant is a sublime oneiric journey of lush harps and heavenly bells, joining into masterfully composed layers of melodic bliss and. New sections keep introducing instruments like new characters in this dreamy fairytale.

Dorsia
A brisk intro catapults us straights into Dorsia, a high-energy introspective roller which joins two sides of Kodama's multifaceted output. Melancholic melodies dance over a powerful bass & drum synergy, until the second drop comes in with stomping weight, beautifully delivering our fix of bass-Nirvana.

The Allergies are back with the latest in a long line of party starting gold nuggets on 7" vinyl. 'Get yourself Some' sees the guys channel a bluesy stomping soul style reminiscent of Sam & Dave and the Motown greats. Screaming blues harp, hammond organ stabs, lyrics about making it all by yourself, and a steady groove make this one sounds like it could have easily been played by The Swampers in a long-lost Muscle Shoals session.

Meanwhile on the flip, The Allergies enlist two UK hip hop titans - Dr Syntax and Skunkadelic to trade bars on the driving and energetic 'I'm On It'. Funky sax licks, party bongos and a bassline you could set your watch to all complete the perfect beat for these two to flex their microphone skills over. And the end result is another blistering cut taken from their album 'Say The Word'.

Neotnas feat. Philosopher is a new collab of electronic music producers from Russia (Chelyabinsk and Moscow accordingly). As the environment of the cities mentioned as well as social milieu vary significantly a profound personal reflection of the artists results in a very specific outlook sculpted by both history and presence of Russia – a surprisingly nice stuff inspired mainly by jazz, ambient and trip-hop. Four new tracks give a deep insight into the way the artists feel the groove and associate it within a dancefloor culture regarding its roots and worldwide influence. Two of them (Jazz Engine and You're Mine) – are 124 BPM house party cuts place all the emphasis on intensively syncopated TR-808 hi-hats layered with properly selected percussive jazz elements and flavored with brass licks and reverbed chords, catchy vox and driving by a grit kick and pumping low bass patterns. Another one (Spirits Of A Dawn) cautiously takes a listener to a personal journey to the edge of an imaginary big city, leaving its downtown, and moving out of the night shade slowly, coming near a sleepy morning glimmering focusing on a light sparks of a new day. The last but not the least track (Traffic Love) is a dense powerful banger galvanizes trip-hop beats and house chords with a lush and mystic 90`s female vocal all together aimed to stir up a crowd on a dancefloor and make them wet and happy. This release – fresh and diverse – will definitely hits it off with a large audience and joins a marketplace properly.