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Italian bass collective D-Operation Drop marks their debut on Dub-Stuy Records with “Pon Pause SP”, a heavyweight 12”single featuring legendary singer Al Campbell. Formed in 2010, the six members of D-Operation Drop have a wide range of experience and production styles, releasing on various labels such as ZamZam, Moonshine and Lioncharge. For their first collaboration with Dub-Stuy, they connected with the great Al Campbell, a singer with a storied career working with Studio One, Lee ‘Scratch’ Perry’s Black Ark, and more. Together, they crafted a modern steppers anthem that seamlessly connects old and new.

PLEASURE ZONE welcomes Andrea Ferlin to the artist Family!
We are happy to present you soon two releases from the Sleep Is Commercial founder!
Starting with "Crepuscular Beats Part 1 EP"

Mainly known to DJs for the funk groover "Te Queria", Rota-Mar is the first solo album by the charismatic Zéca do Trombone. During a vertiginous career which started in the late 60s, Zéca was a permanent member of Wilson Simonal's band, toured with Luiz Eça's Sagrada Família (alongside Joyce, Naná Vasconcelos, Nelson Angelo and others), recorded the seminal Brazilian funk "Coluna do Meio" for his joint effort with Roberto Sax, and played and recorded for some of the big names of Brazilian music such as Tim Maia or Martinho da Vila. Particularly for samba artists such as Alcione, Leci Brandão or Moreira da Silva, Zéca do Trombone was the trombonist of choice.

Rota-Mar displays the work of an established musician who has nothing to prove. Impregnated with Zéca's characteristic voice, the songs draw inspiration from the sea, love and bohemian life, and let us all dream of what life in Rio the Janeiro was during that time. "Te Queria", penned by Zéca's childhood friend Elízio de Búzios (known for his highly collectable funk/boogie single "Tamanqueiro") is the obvious highlight, although we believe the real beauty of the album lies in the relaxed sea-side groove and MPB in the rest of the songs, including Zéca's superb take on Martinho da Vila's "Manteiga de Garrafa".

anthéne, one of ambient drone’s most recognised names, presents ‘maritime’. A shift from his usual expansive, time-stretching soundscapes, maritime is something altogether more grounded, more present. It signals the call of the open ocean, of its vast possibilities and terrors, as a similitude for the night.

In both, one faces the peace, the limitlessness, the reverence, and the promise, while at the same time the uncertain, the uncontrollable, the danger and the fear of the unknown. In such a way, maritime is presented in two parts: Side A demonstrates the beauty and inspiration of ocean views and night time explorations, while Side B addresses the vulnerable nature of vast, boundless experience.
An artist with an astounding workrate, Brad Deschamps has worked with such artists as Ian Hawgood, James McDermid, Andrew Tasselmyer and Fossil Hunting Collective (as Still Harbours), and releases the likes of Hakobune, Moss Covered Technology and Forest Management on his own Polar Seas Recordings.
His patient style is clear throughout the album, shimmering guitar tones overlaying with warmth and stability, yet the addition of more troubled melodies and subtle vocal parts make for something far more poignant. The duality of awe and terror, of the two primary elements of the sublime, channel through as one in one of anthéne’s most thoughtful offerings to date.

Known for his soothing trumpet work in German jazz group Fazer, Matthias Lindermayr is back on Squama with an all-new trio and his third album 'Triptych'.
With Philipp Schiepek on acoustic guitar and Simon Popp on percussion, the Munich-based musician created a forward-thinking record between jazz and contemporary classical, conceptually bold and utterly beautiful.
'Triptych' is a thrillingly quiet record. While the album's predecessor 'Newborn' (2018) featured a quintet, the rather unusual trio line-up on 'Triptych' gave Matthias more room to share the nuances of his playing.
His compositions, most written especially for this group, are of a noble simplicity allowing the musicians to focus more on interaction and sound.

Nyami Nyami Records are pleased to announce the first ever reissue 100% analog from the original
master tapes of the classic Zimbabwean album Soweto from 1986, with the same tracklist and original
artwork, produced at the peak of jit’s popularity in the mid-1980s. While staying within the chimurenga music
framework pioneered by Thomas Mapfumo and Jonah Sithole, Robson Banda and the New Black Eagles
produced a crisp, precise and exciting sound, emphasising the upbeat dance music favoured on the
dancefloors of independent Zimbabwe’s nightspots and beerhalls. Mbira-based guitar licks bring a nostalgic
feeling to these dance-floor gems championed at the time by legendary English DJ John Peel.

Industrial experimental bloody live set... The old sopund, down to the underground...

Dublin’s Glimmerman impresses with his debut release on First Second Label. 3 subbed-up modern club weapons b/w a remix from the on-form Sputnik One.

Step Mode gets stuck in, pairing twitching junglisms with a feverish techno dancehall pulse. Proper awe-inspired club music for the now. Oxygen Sum is up next, layering submerged sound design with a heaving broken beat-ed thud. A slippery aquatic stepper.

Cutlass is on the flip, an absolute no-nonsense Dubstep wobbler in the finest modern style. Expect rewinds on this one. Our curtain call is with fellow Dubliner Sputnik One, as he remixes Step Mode in his exquisitely supple psychedelic sub-tech style.

Pink Vinyl

South London housemates Surface and Ackroyd team up for their vinyl debut and deliver 3 cuts of razor-sharp breakbeat mastery.

River Lea (a division of Rough Trade) releases Fire Draw Near - an album of
Irish traditional songs and music from the archives, compiled by Ian Lynch
of Dublin band Lankum.
“This LP is a collection of 13 rare, strange and wonderful gems from the Irish
tradition. Recorded in various parts of the country over a period of over 60
years between 1947 and 2013.
They show us a strong, multi-faceted and vibrant musical tradition in the country; one that still exists in the present day. The settings are varied - bars, living rooms, campsites, recording studios - as are the backgrounds of those who
perform.
The music of the Travellers, who tended to the flame of tradition while the rest
of society began to lose interest is well-represented, as are styles ranging from
sean-n s singing in Connemara, Donegal fiddle-playing, uilleann piping from
Dublin and English language singing of ballads both bawdy and beautiful from
across Ireland.” - Ian Lynch.
Fire Draw Near - An Anthology of Traditional Irish Song and Music is the fifth
album to be released by River Lea, following records by Lisa O’Neill, Br ghde
Chaimbeul, Ye Vagabonds and John Francis Flynn.
Fire Draw Near is also a monthly podcast and radio show, hosted by Ian Lynch
which investigates Irish traditional music in all its myriad forms.

Black So Man. For Black Is Also Man. Tout Le Monde Et Personne. He blames ‘Everybody and No one’.
Clealry, Bingotoma Traore was not trying to get rich, or entertain: he wanted to change the world. And all it took to get there was four cassettes, all recorded between 1994 et 1998. In that time he went from extreme poverty, sellings eggs in the streets and killing pigs at the factory, to being the biggest pop star in his native country, Burkina Faso, and a legend all over Western Africa.
Corruption, ill governance, education, colonisation… All his songs were history and philosophical lessons for the ghetto youths, the unemployed, and the many people who could identify themselves with him.
He died 20 years ago, mortally wounded after going through a car crash. Today, his videos still ranks millions of views on social network. No one has forgotten him. And his fight is more relevant than ever.
Rest In Power Black So Man (1967-2002). Thank you to his son Ange Fela Traore and his ex-wife Adji Sanon (to whom he dedicated the song ‘Adji’ included here) for their trust in us leading this reissue project. Half of the profits from the record goes to them.

Soul Deep Recordings is turning 10 Years old!! To help celebrate this monumental accomplishment, a 10 Year Anniversary LP has been put together, starting with this stunning eight-track vinyl sampler. The sampler includes songs from some of the scene's most influential artists such as Madcap, Paul SG, Blade, Furney, Decon, Dramatic, and many more. With this collection of talented artists, the release is destined to be an instant classic.

Soul Deep would like to thank all of the artists and fans of the label for your support over the last ten years. Without your support, Soul Deep has been able to pursue our mission of pushing soulful Drum & Bass music to new heights. A special thanks goes out to the artists who supplied songs for the 10 Year Anniversary Release! The vinyl sampler will be followed up with 2 albums, which will be released shortly after the vinyl sampler drops. Help us start the celebration by checking out this release, and get your copy before they're all gone. Thanks again for your support!! Looking forward to another 10 years!

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a third limited 45'. This release delves into some neo soul classics, cleverly flipping a pair of favorites from one of the genres most belove couples of the 00s.

Cantankarous Dub : Metting craziness of a 90's early ragga Jungle and jazzy swings opening to some fat amen breaks solo. 160 BPM killer !

Roll The Mice : Up to 170 BPM here, with a newskool metting point between Jungle and Drum... From this base it develops into a breakbeat fonky swinga ... but not only : after the touch down drop, like on the A side, again a wicked Amen break solo dancefloor shot !

Giampiero Scalamogna best known as "GEPY & GEPY" was an Italian singer, songwriter, producer, arranger and for his powerful voice visually combined to his robust physique he was paired to Barry White and Demis Roussos.During 70s he focused on disco music genre, composing and performing several songs such as ""Body to Body"" opening song of the famous Italian TV-show Discoring , and ""African Love Song"" that was part of the Nicky Siano's playlist at the Studio 54. Best Record Italy wants to remember this big italian producer (died in 2010 at the age of 67) with this 12"" limited edition containing for the first time the extended disco versions of "Body To Body" on the A side and "African Love Song" on the B side.

Incl. Tim Reaper Remix

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

After the exploration of snowy mountains of Alpestres, released on Hands in the Dark in 2018, French composer Matthias Puech ventures into new territories, sketching a cartography of the invisible where the journey, in chiaroscuro, is announced as a rite of passage. A Geography of Absence, as introspective as unpredictable, immerses the listener into a unique sensory whirlwind where organic matter becomes almost palpable. A researcher in theoretical computer science and an engineer at GRM, Matthias Puech constructs a dialog between synthetic music and field recording, capturing sounds that surround him and creating his own sonic language with the help of synthesizers he designs and develops; notably the Oscillator Ensemble and the Tapographic Delay, made by the American company 4ms.

Composed during a moment marked by ordeal and mourning, A Geography of Absence retraces an inner journey where the physicality of sound leads the listener into an initiatory tunnel filled with apparitions, ghosts, visions. With sound oscillations as a navigational map, we progress, step by step, through the meanders of an unknown world, dazzled by the prospect of a new synthetic horizon, an electronic biotope teeming with life and incarnations. Playing with time, space and matter in an approach similar to that of musique concrète, Matthias Puech combines ambient and noise, floating sounds and electroacoustic experimentations, thus shaking up our listening perspective, which finds itself walking through a parallel universe, strata after strata, sequence after sequence.

The trip begins with “Hollow”, as if on board a night train travelling at full speed through ghost towns. Or is it a spaceship? Removed from their original habitat, sounds – picked up during walks or moduled by synths – are free to be interpreted differently by everyone, according to the memories that shape us. Granular and metallic, this first piece takes us to an elsewhere in orbit. "Work Song" is built around the pulsation of the void, of space, where strange creatures and liquid emanations abound. We become fetus, cocoon coiled in the placenta, heart beating to the rhythm of the gooey choreography of the human body. "Chrysalis" awakens the racket that lies dormant in us, when the skin changes, when the transition takes place. One seems to recognize certain sounds stemming from nature but they could also be mirages, imitating reality to render the barely perceptible engulfing. “Tunnel Vision” brings out a herd of haunted bells, slowly swelling in a pastoral maelstrom, ending in a deafening buzz. Further on, the chirping of an animatronic bird mixes with the hooting of an owl: "A Faint Beacon" invokes a nocturnal vigil that mixes the crackling of a fire and icy gusts of wind blowing everything away. Like an epic, sucking the listener into the breach of a black hole in the center of the Milky Way, it's up to "Homeostasis" to conclude in the high spheres and contemplative vapors, where the balance of dawn announces a rebirth.

A Geography of Absence is a meticulous and sensitive piece that constructs a delicate symphony of extremes, between introspection and desire for the unknown. Accompanied by the ink work of the artist Léa Neuville, whose folds of prints sketch this imaginary atlas, Matthias Puech becomes a narrator of mental adventures. And succeeds once again in transcending reality to dig a path to the unspeakable.

black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

Originally released onPrivilege, a sub-label of Polydor, this soundtrack by free jazz saxophonist Marion Brown is almost impossible to find in its original pressing. Nowmore than fifty years later it is finally reissued, to the delight of free jazz enthusiasts and film music collectors.

By 1967, Brown, then aged 36, already had a very successful career in the United States, appearing on John Coltrane’s ‘Ascension’, Archie Shepp’s ‘Fire Music’, performing with Sun Ra and Pharoah Sanders and recorded several records under his name for renowned avant-gade jazz label ESP Disk.

That year, he however decided to move to Europe where he met with German saxophonist and vibraphonist Gunter Hamphel. Accompanied by Steve Mc-Call (drums and percussions), Barre Phillips (double bass), Alain Corneau (Cowbells) and Ambrose Jackson (trumpet), they recorded in 1969 in the legendary Parisian studio Davout, the soundtrack of the movie by Marcel Camus entitled

“Le temps fou”.

This film, which starred Nino Ferrer, was released in 1970 under the title “Un été sauvage” and unfortunately it did not make history in cinema. Fallen into oblivion, only his two original soundtracks (there is also a 7’’ with titles composed by Richard de Bordeaux and Daniel Beretta) are spreading the word.

Greetings to the new generation of ‘Hip-Hop’ and ‘Shake Your Butt’ music. The man behind ‘Timeless Funk’ ain’t exactly no ‘Spring Funky Chicken’, yet he is still the ‘Funkiest Soul’ to rock this here nation.
Rufus Thomas is the Soul King and Grand Daddy of Funk; as his generation knew him then, as we know him today.

In the beginning, the ‘Power of the Most High’ said: ‘Let it be funky’. Then there was Rufus.
Rufus Thomas was born in 1917 in a small town outside of Memphis, Tennessee. At the age of ten he became a tap dancer. In the 1930s, Rufus worked professionally at the infamous Palace Theatre, Memphis, TN, as M.C., performing comedy and dance routines.

During the early 1940s, Rufus began his singing career. He also continued his M.C. acts at various notable nightclubs and theatres, for amateur nights. He was then considered to be a triple threat: dancer, comedian and singer! The notables he crossed hands with in those days were B.B. King, Bobby Bland and Johnny Ace. In the 1950s Rufus became one of the ‘Hip-pest’ DJs in Memphis TN W.I.D.A. radio station and is affiliated with the company to this day. He was quoted as saying ‘I’m young and loose and full of juice’. At those times he recorded ‘Bear-Cat’ for Sun Records, their first R&B hit for the label.
All-right ‘Kiddies,’ now I take you into the light of Rufus in the 1960s. When most of us were on our way to our happy existence, Rufus was already 30 years in the entertainment circuit. He was affiliated with STAX Records. With daughter Carla Thomas, he gave STAX their first hit, the duet, ‘Cause I Love You.’ Rufus’ world famous hits continued under this label, pouring songs out such as ‘Memphis Train,’ ‘Can Your Monkey Do The Dog,’…

The foregoing is merely a scratch on the surface of a remarkable man, who has dedicated most of his life to the entertainment business. It’s kept short and sweet so you know what you are dealing with.
Rufus was quoted as saying, ‘I ain’t a star, I don’t want to be a star. Stars have a habit of falling. I’m like the moon. Clouds may come and cover it occasionally, but it’s always there, and always shining. It’s just sometimes you don’t see it for a while but it’ll be back.’

If it wasn’t for Rufus, Soul Music would be missing one of its loudest sons. If he didn’t exist, somebody

Continued over…

would have to get up and invent him. And Funk? The man practically invented the stuff with James Brown.
Now at the age of 75 ‘The Oldest Teenager Alive’ check him out on this recording of ‘Timeless Funk’. We’ll agree and leave you with this note: Rufus is the ‘Moon’ that brought us what was ‘Funky’ then to what is ‘Funky’ now. So let us get ‘Buck Wild’ on the Funky side of things

Cinthie’s we_r house imprint returns with its twelfth release
this May, coming courtesy of BMW aka Christian Burkhardt,
Meat and Chris Wood.

Over the past few years Cinthie’s we_r house has played host to material from the likes of Kevin Over, Manuold, Elgo Blanco and Simon
Shaw to name a few, the imprint continues to push house sounds
with a stripped-back, groove driven inclination. Here this continues
in fine form with German trio Burkhardt, Meat and Wood under
their collective BMW guise.

If Black Sabbath had been born and bred in an Ohio mobile home and raised on a steady diet of smoke and acid - the result would sound exactly like Mistreater
In 1981 the group independently recorded and released the “Hell’s Fire” album. Today the album is considered a US metal classic and is considered one of the strongest metal albums ever made by metal aficionados - original copies are hard to find and there’s a hefty price tag if you’re lucky enough to find a copy for sale. Mistreater are from Creston (population 2000) and were far outside everything and everybody associated with the “hip” music scene in Ohio. Mistreater either didn’t know or care about the scene in nearby Cleveland where bands like proto-punk rockers Electric Eels, Rocket From The Tombs and Styrenes made waves. Pere Ubu and Dead Boys sprang from these roots. The Pagans ruled the Cleveland area during the punk days. Earlier, The Choir, Raspberries and The James Gang were pivotal Cleveland bands. As local audiences were receptive, the city was a major stop-off for touring bands. Similarly, radio station WMMS also had open ears. Nowadays, The Rock & Roll Hall Of Fame is located in Cleveland. It goes on – Cleveland and its surroundings were happening. Mistreater was into none of this… Their music was by outsiders for outsiders. More brutal, raw and louder than everyone else. Rough-edged and without gloss, the Mistreater of Hell’s Fire was not aiming for the mainstream. The riffs are stoner hard knock-outs and the guitar leads are psyched out punches rooted in heavy psychedelia. Sweden’s On The Dole Records are proud to present the first ever reissue of “Hell’s Fire”. And in true OTD fashion no expenses were saved. The band was interviewed for the extensive liner notes, rare photos were found, the sound is remastered and carefully restored, and the non album single b-side “Baby Blue” is added as a bonus. This is a US metal / D.I.Y masterpiece that should be heard by everyone into hard, loud music and massive guitar riffs. It’s like Greg Sage of The Wipers had gone metal. It would have been the ultimate soundtrack to Tim Hunter’s “River’s Edge” movie with Dennis Hopper. Mistreater were young and had no contacts or knew ways to reach out with their music back then… Now the time has come for the resurrection of Mistreater. Mistreater is not in the nearby Rock’n’roll Hall Of Fame in Cleveland. But they should be. This OTD reissue goes to prove it.

The second installment of "The Last Shall Be First.." series focusing on D-Vine Spirituals subsidiary label, JCR Records. This reissue series is packed with incredible Sacred Soul performances from Memphis, TN in the late 60's.

Federico Durand’s music is a weave of sound searching introspection and delight through simple melodies, made in the heart of Argentina. Federico likes music, gardens, John Keats’ poetry, collecting stamps and Earl Grey tea. Since 2010 he has been released on various labels such as 12k, Home Normal, IIKKI, Spekk, White Paddy Mountain and more.

"Herbario is the Spanish name given to a collection of dried plants and flowers preserved in an album. The collector usually writes with pencil the name of the herb, the place and date of collection, thoughts, and the habitat where the plant was collected from.

I live in a place surrounded by mountains and wild gardens which are, to me, a source of inexhaustible beauty. Through them I feel the passage of time: an ancient, circular temporality that follows the course of seasons, dialogues with the dark stillness of the mountain and the moon calendar. Each musical piece of Herbario has the name of my favourite flowers and trees.

Through a year of uncertainty, from March 2020 to March 2021, I composed this album in the same way a botanist would have proceeded: collecting and preserving simple, broken and hypnotic melodies." - F. D. / La Cumbre, Argentina.

MADVILLA steps out on FUSE’s LOCUS imprint for the first time as he reveals his four-track ‘Old Flame’ EP.

London-based, American-born DJ and producer MADVILLA is a name making serious waves within house music at present, with his driving and slick take on the genre via the likes of ANOTR’s No Art, Seb Zito’s Seven Dials and his own Hot Wings imprint welcoming supporters in Jamie Jones, Stacey Pullen and FUSE head-honcho Enzo Siragusa to name just a few. Up next, the surging talent steps out on FUSE sister imprint LOCUS for the very first time, following his recent appearance at their London home of 93 Feet East, as he delivers his four-track ‘Old Flame’ EP this May.

Lead cut ‘So Bad’ kicks things off as crisp drums meet resonant stabs, sweeping melodies and infectious vocal coos, before introducing the spacey soundscapes and hypnotic pads of title track ‘Old Flame’, accented by Shyam P’s tripped-out vocals throughout. Next, ‘Orbit’ takes things up a gear as skipping percussion arrangements go to work beneath spiralling lasers and jacking hats, whilst closing track ‘Takeout’ dives into the afters as rubbery bass licks, hazy synths and rumbling low-ends take listeners on a warping UK-tinged journey through entrancing sounds.

New on Hajj's (BFDM) label Dawn
Darkside R&B influenced electronic pop tracks.
100 copies only!
Recommended!

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.

In 1980 the trio Humair / Jeanneau / Texier
recorded this album, which was initially intended to
illustrate an animal documentary. The trio did not
know that ‘Akagera’ would become one of the
founding moments of an aesthetic and an ethic of
French jazz which, 40 years later, remains a model
of the genre.
First of all, the instrumentation (sax / bass / drums)
is already singular for the time, then the creative
power of a trio where each musician finds a
cardinal place, very far from a mere rhythm section
accompanying a soloist. Finally, the three
musicians are also composers, each of them
contributing original themes tinged with Africa and
the Savannah, modal and mysterious World Music,
inexhaustible subjects of unbridled improvisations.

After a year off, Increase the Groove Records is back in force with a release eclectic AF, like the vibe that has instilled into this label since its creation. The EP of ALYHAS & LIAM FATTORI, includes 2 remixes of the very tallentuous : Idris Bena and Harry Wills !

Lowride & enjoy it.

Recline Music founder Nicco (N.D) returns on the label this April, delivering his grooving single 'Lost Universe', accompanied by a remix from Javonntte. Florence native Nicco (N.D) is a long-standing player within the house music scene. Producing since the late 90s, he has previously performed as a singer and guitarist before joining forces alongside Ivano Coppola to launch their Recline Music imprint. He has worked with DJ T., Oxia, Clarian and many others, whilst releasing over one-hundred tracks and gaining support from Marco Carola, Joris Voorn and Steve Bug.

The remixer of this package is Detroit-based Javonntte. Since the early nineties, he has been producing music and has collaborated with legendary producers including Blake Baxter, Amp Fiddler and Andres in his formative years, whilst his solo releases have landed on Quintessentials, Traxx Underground and Kai Alce's NDATL.

'Lost Universe' is a glistening deep house track that effortlessly combines luscious chords with rising pads and blissful keys to transport listeners on a hypnotic journey. Javonntte's interpretation reveals a feel-good affair, as fathomless bassline sequences fuse with kinetic drum programming and dubby chords - wrapping up this enchanting offering in style.

BEN SIMS: Sweet remix from Javonntte!

DJ BONE: Funky! I love it

STACEY PULLEN: Solid Tracks

SHUR-I-KAN: Javonntte remix is nice and summery!

FRED P: Nice one..

KAI ALCE: Javonntte remix hard, deep & HOT!

PHIL DAIRMOUNT: Javontte remix for me

SPATIAL AWARENESS: Love the OG

TELFORT: Real nice ! :)

BILL BREWSTER: Original's nice.

CRAIG SMITH: Real nice Javonette remix

DIZ: Really Nice!!

FRED EVERYTHING: Very nice Javonntte Remix!

ANMON was born from the collaboration of French producers DJ Saint Pierre and Ténèbre. Through rearranged recorded live jams, their music is a series of fast-paced experiments at the fringe of the techno spectrum. Built for the stage and trance-induced listening experiences, Anmon summons a renewed tribal spirit - an unexpected resurgence of the sonic aesthetics of freeparties via their very own interpretation.

Amor Satyr makes his debut on Promesses with “Na Viela / Virar DJ”, a double single featuring Brazilian rappers MC Buzzz (Spain-based) and T9 RJ (France-based). For this release the French producer brings what he does the best : hybrid baile funk. “Na Viela” is a cartoonish club banger where Buzzz’ broken voice and T9’ deep breathy hooks melt with Amor Satyr’ epic strings and bassline. Followed by grimy glacial bullet “Virar DJ” where T9’ voices from beyond the grave match with sharp snare and hypnotic synth. The release contains instrumental versions of each song. "Na Viela / Virar DJ" is available on limited edition vinyl (handmade silkscreened cover illustrated by Acacio Ortas).

Next up on MOM is another exploration of the link between art and music. This time it is dance performance. The musical artist is Okkre (Uge Pañeda) producer of the Spanish duo LCC, who have released two albums on the celebrated Austrian imprint, Editions Mego. Okkre is a composer of soundtracks, DJ and she is currently immersed in researching her "landscapes series" project, connecting countries and cultures that are seemingly unconnected to each other through field recordings... MOM 012 is the soundtrack to a very special performance named ÉPICA. Directed by Barcelona based choreographer Aimar Pérez Galí, it was premiered at Sonar 2017. EPICA brings clubbing culture inside the theatre, to deliver a highly energetic performance, joining bodies, sound and voices of historic and political dissidence. It is about communication between bodies (without language) and the liberty of being on the dancefloor. Freedom of movement, expression and happiness through music! Okkre has provided a startling soundtrack. This soundtrack complements the performance of the dancers beautifully but also deserves to be listened on its own. It is both powerful and dramatic, fitting the title. The music of the soundtrack has been adapted for its imminent release on vinyl. The piece begins with the rhythmic movement of beats, which provides a structured backdrop. They are complemented by a swirling bassline. Overlayed percussion of differing styles comes in and out. Harsh almost metallic synths enter after a few minutes, which also have the sensation of breathing. Later on, powerful synths battle sturdy cymbal assisted percussion. In the latter stages, everything gets even more intense techno feel and the A Side ends with dense dark synths. The music is alive! While the other side gently mixes a melodic bassline that moves like the wind with intertwined chorus and voices, which appeal to the spirit of the artistic work, evoking space for feeling and touching. At the same time, insistent beats offer a club feeling. Scary yet empowering strings create a hypnotic atmosphere alongside falling keys and vocal impressions. The final few minutes provides a strong climax to the record. This features hammering beats, a circling bass and powerful keys. A mighty performance! ÉPICA is indeed epic.

TGR 012 plus empty box plus poster and booklet