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Beautiful contemporary African music. Deep percussion with great guitar playing and vocal chants on top. Driving basslines all over the album. Spiritual feel! Tip
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Son of the legendary Dr Philip Nchipi Tabane and heir to the malombo sound that he originated and pioneered in the early 1960s, Thabang Tabane has been touring the world playing with his father's band and other South African luminaries (such as Thandiswa Mazwai, Madala Kunene and Mabi Thobejane) since he was 8 years old.

Emerging into his own with his debut solo album, Matjale, this energetic percussionist carves a driving, joyous and worldly version of the malombo genre that takes in his continental travels. The album brims with ambition and an appetite for life. Employing brisk tempos, nimble basslines and intersecting polyrhythms, Thabang crafts songs cognisant of the hardships of life, but chooses to deliver them with an irrepressible optimism.

Expanding parameters of what is essentially an artform patented by his father, Thabang and his cohorts seem unburdened by pedigree, infusing the sound with a modern sensibility. His reverence for the vibrational resonance and drive of the bass guitar, not to mention his explosive bursts of hand drumming, gives the album an undeniable, cathartic exuberance.

After years of playing with the Moroccan community of Brussels, music maker and jazz musician Luc Mishalle knows every trick of the cross-fertilization of gnawa music, jazz & brass. Gnawa is the Northern African islamic sufi music with healing vibrations and spiritual lyrics, played by the descendants of African slaves. The album title 'Beats & Pieces' refers to the collaborations with Belgian percussionist Roel Poriau (Think of One, Antwerp Gipsy-Ska Orkestra), Tunisian electronic producer Sofyann Ben Youssef (Ammar808, Kel Assouf) and Moroccan-Belgian gnawa master Maalem Driss Filali. 'The album is significantly less 'jazz' than past collaborations with Byron Wallen and Trevor Watts,' explains Mishalle. 'It's based on gnawa songs I transcribed and arranged together. Half of the songs contain vocals, which makes it more radio-friendly.' There are also fragments of Beninese traditionals and which bring us to another thread through the album: trance. You can find it in gnawa music and even more in Benin, the cradle of voodoo. 'Trance music aims to create obsession through constant repetition. We kept the essence of that music, adding jazz and brass colours,' Mishalle finds these musicians in Brussels, and together they search for the sound of this city known for its hyper-diversity. 'Brussels' context is unique, in Belgium and beyond. Our metropole has quirky vibrations. To catch them, you have to fully submerge.'

33 years after it's first release Rick Clarke's street soul simmerdown on Local Records, 'Love With A Stranger', gets a much welcomed official reissue, lovingly remastered from the original tapes.

Just peep that OG artwork to get a taste of how this one's about to go down. Written and produced by John Collins, known for producing The Specials - 'Ghost Town', 'Love With A Stranger' perfectly encapsulates that '80s street soul sound. Distinctly soulful, synthy slow jams, heavy on the bass with a touch of the low-slung, lovers rock vibrations about them. Rick Clarke's sultry sweet nothings weave their way irresistibly through this five minute gem, but for those that want to provide their own rendition over the top, the dub has been affectionately cut to the flip.

Top tier tackle - reissued to serenade red dressed souls the world over once more.

* Following A String Of Releases On His Own Manband Label, Toma Kami Lands On Livity Sound With A Fresh Two Track 12' Contrasting The Zippy Percussive Groove Of 'sharp Tool' With The Gurgling Vibrations Of 'land Of The Insane'.

* Established In 2011, Livity Sound Is A Frontrunning Label In Uk Electronic Music. Since Its Inception, Peverelist's Imprint Has Dedicated Itself To Releasing Innovative Music, Eschewing Existing Forms And Forging Its Own Stylistic Path.

During the eighties it was possible to observe an Italian fascination with the mysterious Far East. This can be found across art, design and music in Italy during this time, in subtle or obvious ways. Specifically there are Italo-disco records that proudly show this influence, some of the best known being: Fun Fun Living In Japan, Koto Chinese Revenge and City-O' Rose of Tokyo.Following in this theme is Fancy Null Null. Not to be confused with the famous Euro-disco artist behind Slice me Nice, this 'Fancy' is a one-off project from Italo-disco icon Raffaele Fiume, the artist and voice behind many great Italo-disco hits, such as: Helicon You See, Malcom & the Bad Girls Shoot Me and Ralph River Band Strange Vibration.Adding to the original tracks of the 1982 release is a totally ecstatic and powerful remix from Betonkust: one of the most talented and exciting Dutch producers of recent years. Also included is an instrumental edit from Hysteric, for those who find the unique vocals challenging.

Repress!

First Word Records is very proud to present the debut album by Children of Zeus - 'Travel Light'. It's been a long road leading to this album for Tyler Daley and Konny Kon.

They first embarked on their expedition into the music game two decades back - Tyler entered the scene as a songwriter, producer and vocalist, originally under the moniker Hoodman, whilst Konny began MCing, DJing and beat-making for hip hop crews The Microdisiacs and Broke'n'£nglish, along with DRS & Strategy.

To date, Children of Zeus have released three sell-out singles on First Word ('Still Standing', 'I Can't Wait' and 'Slow Down') and a compilation EP comprised of tracks made by the duo over the last decade entitled 'The Story So Far...'. Children of Zeus are finally at the stage where they are releasing their debut album proper, the over-riding ethos of which is about keeping their eyes on the road ahead, whilst shedding the baggage they've accumulated over the years - 'Travel Light'.

Features mainly come from Manny family, ( K S R ), LayFullStop, Metrodome (Levelz) and former Broke 'n' £nglish spar DRS. Guest production comes in the form of Switzerland's Sebb Bash, Nottingham's Juga-Naut, and London's Beat Butcha, and there's your favourite DJ's favourite DJ,

Mr Thing, slicing up the turntables on two tracks too. There's a few extra special ingredients on this album, along with their trademark sub-heavy, rhodes-laden hip hop soul hybrid. Reggae music has always been an integral piece of the CoZ sound-system ethic, so we see Tyler putting on his lover's rock hat for 'Hard Work', and they invite soul queen Terri Walker to join them on the fierce 'Sling Shot Riddim', while the album closes with the epic K15-produced jazz-bruk opus, 'Vibrations', on which Konny breaks it down quite simply: "high frequency means that you travel light, so get lifted yo, we'll live gifted".

Long as the journey has been, the time for looking back is over. This is about the present and future of Children of Zeus. A shining light in Manchester's now-school, and rightly heralded by many as the best new act to emerge in British soul music in the past decade. Aside from the above features, this project is written, performed and produced entirely by Tyler and Konny.
Since the crew first took flight, the end destination has never changed, the aim remains the same - to create timeless music, in their own unique style, without compromise, irrespective of industry and life distractions. The moral being this - travel light.

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

The ep comes in 300 copies packed in hand burnt sleeves on the front and a silkscreen print on the back

Eocity is the result of a study on technological failure and the imagination of a non-existent urban landscape.

This project features the use of a Yamaha ex5r, one of the rst synths to ever implement VL synthesis.

The "Yamaha Virtual Acoustic" Synthesis tone generation was born to try to accurately emulate the complex vibrations and other acoustic phenomena of real instruments and their sounds within space, but the dubious results of this technology gave birth to something more.

Its nal output sound happens to be cold and synthetic while being also organic and warm at the same time, welcoming the listeners into a feeling of an arti cial world that is neither digital nor analog.

In this world man is not around anymore and the binary language survived him, communicating with the rest of the natural environment, in respect of its laws and dynamics, becoming one indistinct entity.

Eocity is a place that exists in between the imaginary and the real one, gently oating as a digital tactile experience.

Travel agents for inner journeys Seahawks take us on a voyage ever deeper into the new age vortex. Their last album 'Escape Hatch' described by Vice as a 'modern masterpiece' only hinted at the transcendent power of Seahawks music. Eternal Beams goes 'further' to create a whole new harmonial experience. Side one: the listener immersed in a soft storm of tape saturated raindrops and distant thunder...numinous waves of sound cascade to create whirlpools of womb-like warmth with gentle pulsations. Side two: enter Laraaji... flocculent flows of golden zither, rich vocal vibrations, dolphin tones in phantasy phase - all coalesce generously, bringing feelings of rebirth and light. To conclude: a wondrous journey of resonant oscillations, inner exploration, a portal to other dimensions.

As we enter the Summer months, Excursions welcomes back The Showfa, with A Gospel Excursion Volume Two. Four more dishes of hot spiritual gumbo for your mind, body & soul.

Once again The Showfa has expertly cut together a concoction of gospel, soul, disco, latin, jazz, funk, and spiritual rhythm & blues. The glorious disco rework of a track called 'Amazing' sets the tone with an infectious piano riff and powerfully uplifting vocal. 'Surely Surely' follows, with a more vigorous strut, a short, sweet slice of disco funk, no messing about. 'Praising' keeps the groove and tempo solidly in a delicious eighties boogie formation, slap bass and sax in tow. The set closes out with beautiful latin-jazz tinged vibrations sauntering through 'I'll Show You The Way', before switching to the sweetest sweet soul you ever did hear. Soul food of the highest calibre.

The previous volume was shown love last year by an assortment of selectors and tastemakers, including Tony Humphries, Horse Meat Disco, Gilles Peterson, Craig Charles, BBC 6Music, Mi-Soul, Rinse FM and Mixmag, and also saw The Showfa spinning on the airwaves on NTS with Charlie Bones, and for Wax Poetics.

Another joyously ethereal platter, and another one that will never leave the box.

76-79 And Vibration White Fingers. Two Different Names, Two Different Aliases, One Person Behind, Are Back Again With 4 Amazing Tracks From Techno To Minimal.

"Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors. With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing. While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions. Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band. Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay. This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. "

2018 has a lot in store for London spiritual jazz outfit Emanative, with a full double LP and several remixes forthcoming, as well as some full live band appearances and DJ gigs. 'Planet B' is the band's first release of the year and it takes them in a slightly different direction, on a completely different vibration entirely, with an epic nine minute, almost post punk, afrobeat, disco and jazz inspired piece aimed at the leftfield dancefloor. The idea for this project grew from our interest in releasing the live version of the Ahmed Abdullah-written 'Lions Of Judah' (Steve Reid & The Legendary Master Brotherhood) , which appears on the B-side and was recorded live at London's famous Cafe´ OTO, an institution for experimental live music and free jazz. The version has become a Gilles Peterson favourite and a regular on his 6Music and Worldwide FM shows. Nick Woodmansey, the head of the group, wanted to include an original piece as well and so went in the studio with the band and a clear concept for recording 'Planet B'. Inspired originally by a Greenpeace poster and advert of the same name, as well as current adverse planetary situations. Musically it follows the spirit of Arthur Russell's leftfield disco of Dinosaur L project, no wave band ESG, and Sun Ra.

Both D-Malice and Kid Fonque are well-established players in their native cities, both boasting long-term involvement and impressive credentials. After meeting in 2013 and nurturing a very natural and obvious predilection for golden era hip-hop, 90s R'n B, soul and trip hop they decided to pool their creative resources and rope in a wealth of talent from their combined networks under a new moniker. Enter rkls.

On this debut offering the pair have worked with LA's broken beat visionary Marc De Clive-Lowe, legendary emcees John Robinson and Kev Brown, dazzling new vocal and production talent from South Africa - Sio, Melo B Jones, Daev Martian and White Nite to name but a few.

This diverse list of guests flex their dexterity allowing the album to shift easily between ballads and more up-tempo beats effortlessly. Punctuated with spacey interludes, the resulting twelve tracks glisten with sumptuous textures, swelling harmonies and organic instrumentation. Familiar but fresh, rkls feels like you're meeting an old friend with enthralling new stories to tell.

Seeking the overwhelming vibration of the genuine sound wave and its profound echo on the soul, Kenneth James Gibson has spent his career experimenting under a variety of aliases like as many brushstrokes to an ever polymorphic palette - successively releasing as (a)pendics.shuffle, Bell Gardens, Reverse Commuter, dubLoner, Kenneth James G., KJ Gibbs, Bal Cath, Eight Frozen Modules, and Premature Wig... the list is long. Near to two years after his first incursion on Kompakt with his third studio LP 'The Evening Falls', Gibson returns with 'In The Fields Of Nothing', his second full-length delivery for the Cologne-based imprint.

A piece of intricate scales and moods, by turn streaming with the quiet flow of a small meandering rill, then suddenly veering off into an oceanic kind of tumult, 'In The Fields Of Nothing' was conceived as a proper film soundtrack with its rhythmic ebb-and-flow and deep sense of immersion, pulling the strings to an imaginary scenario where the uncanny rubs shoulders with a minute care for the immersion and deep emotional involvement of its whole.

Like entangling multiple levels of consciousness through a millefeuille of textures, piano and strings as well as a flurry of subtly FX-soaked instrumentals, Gibson reflects on his new album - created and recorded right after 'The Evening Falls' came out - as hugely inspired by the lushly forested mountain landscapes of his home region, the bewitching Idyllwild, California. With each track being an essential petal in the narrative corolla figured by Gibson, it's a breathing forest of sounds that deploys, bearing the memories of Kenneth's early morning and late night wanderings in the wild, alone and not, with the ancient trees' vital force for main companion. 
An attempt at capturing a slice of these ephemeral sensations felt when striding along across the steep ridges and stony paths of the San Jacinto mountains, staring at the star-studded dome or gazing into the quiet horizon at dawn, 'In The Fields Of Nothing' eludes the single genre encapsulation, opting for the all-embracing openness of scope as it hops from droney melodic interplays ("Her Flood") and roomy string-laden folk drifts ("Further From Home") through Ligetian webs of sound ("Thirsty Lullaby", "Fields Of Everything") and poignant threnodies ("Unblinded"), onto sorrowful pop ballads ("Far From Home") and lulling ambient scapes ("To Love A Rotting Piano", "Plastic Consequence")

eavily saturated, twisted, adventurous Breakbeat Techno explorer

Seven years ago, Unbalance created his own label as a base for his musical ideas; a platform to play around with the conception of what "techno" is and would be alongside his own creative progression. Come to present day and the label is now at its ninth release, reaching a point where the line of accumulated experiences must be drawn in the sand — and the experiences of previous projects and releases lead to venerable conclusion.

Enter Ten, an album of internalized strife that was created during a period of big changes in the artist's life. Between enduring personal experiences, his creative output veering between his straightforward club eccentricities and subdural sensibilities; Unbalance cultivates a symbiotic link between sounds played and sounds portrayed — whilst paying tribute to the essence of groove, vibration and the hypnotic unknown that exists to balance the scales. This album will be the final point in the label's journey into the depths of multifaceted techno music.