Suche:groove buster

For the 7th full press release, Scared Money introduces Dial-M to their roster for this 4 tracker.
The label continues its focus on Jungle through the lens of Ragga & Soundclash culture, but this release appears somewhat stripped back and more traditional by contrast.

There's something for everyone on this release.

The Madlib Invazion Music Library Series Entry #6: Gabriel Rowland (Los Yesterdays) brings out Eastside LA’s Chicano Soul and Funk Grooves. Orale, vato! This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

• Celebrating 40 years since the game-changing “For Dancers Only” LP, KENT 001, “For Dancers Forty” revisits the Los Angeles labels that have given us so much.

• Like KENT 001, the collection represents the broad church of the Biharis’ recordings and features soul stompers, rhythm & blues busters, girly grooves and heavenly harmony.

• Most tracks are new to Kent LPs and there’s a brand new 1966 soul recording from 50s Modern R&B artists Aaron Collins & the Teen Queens. Long-time Kent favourites Jackie Day, Z.Z. Hill and Johnny Copeland are included with some of their underplayed tracks – for Copeland it’s the first vinyl outing for his dancer ‘I Was Born To Love You’. As ever on our rare soul scene, it’s the lesser-known artists who we revel in and there are stunning tracks from the Simms Twins, the Marvellos, the Intentions and the in-demand (due to the Kent 45 being deleted) ‘I Got Love’ by the Other Brothers.

• Tommy Youngblood’s LP track ‘Tobacco Road North’ has been a sleeper, eventually being picked up by hip hop samplers for its atmospheric musical qualities – and we at last give its proper accreditation after decades of misinformation. Little Joe Hinton’s ‘Tired Of Walkin’’ is now looked on as an R&B dance classic, despite its poor sales on release.

• The Sweethearts adorn our cover with a recently discovered colour photo from the archives of Modern’s head engineer Bill Lazerus. Apart from their bouncy ‘This Couldn’t Be Me’, they provided backing for many of the stable’s 60s recordings.


• You Have “Only”, “Also” and “Forever” – make space for “Forty”

Formed in 2005 in Sundsvall, Sweden, Technical Metal Masters SOREPTION are known for their razor-sharp technical riffs, schizophrenic time signatures topped with catchy chugging grooves and intense vocals. From this they have created their signature sound, not yet replicated by any other modern band, with a strong following to back. The band’s debut full-length Deterioration Of Minds brought major attention to the band as a formidable force in the genre. Deterioration Of Minds was released by Ninetone Records in 2010 and was rereleased by Unique Leader Records in 2014, and their follow-up punishing album “Engineering the Void” was released February 2014 also on Unique Leader Records to critical acclaim. 2015 saw SOREPTION take their technical prowess to the masses, with tours supporting extreme metal machine Cryptopsy, tech-death masters Origin, and the legendary death metal giant Cannibal Corpse. Following the on-road success, the industry and fans sat up and took notice, resulting in the band signing with Sumerian Records in 2018 releasing their next full-length “Monument of the End in the late summer of that same year. The album highlighted the growth of the outfit and continued razor-sharp precision that SOREPTION has become known for. Prior to the release of “Monument of the End” the band earned a spot on the 2018 edition of The Summer Slaughter Tour and followed it up with a support slot for Revocation on “The Outer Ones Global Invasion Part II” European Tour, solidifying them again as a live force to be reckoned with. When the world was shuttered from a worldwide pandemic, SOREPTION saw this as an opportunity to shift gears, refocus their tech machine and set out to create an album that is the natural continuation of ‘Monument of the End’, both musically and concept-wise. 2022 sees the return of SOREPTION to Unique Leader Records with the highly anticipated new album “Jord”, mixed and mastered by Buster Odeholm and featuring artwork by Caelan Stokkerman who handled artistic duties on their previous releases.

As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice selected some of his favorite forgotten productions, as he previously did for the AOR Global Sounds, French and Brazilian Disco Boogie Sounds compilations series.

This time, recordings come from Sweden, Switzerland, South Africa, New Zealand, Uruguay, Spain and France, from artists and bands mostly known in their local scenes. You'll hear here the best elements of the Fusion and Jazz-Funk genre: breezy vocal arrangements reminding Flora Purim in Return To Forever or George Duke's albums, sweet and virtuosic Fender Rhodes (kind of common thread of the comp), melodic spiral-shaped fuzzy synthesizers leads, or irresistible basslines, altogether bringing a unique groove to life.

With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. Their down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Formed in 2005 in Hudiksvall, Sweden, VILDHJARTA has become an institution of omission. From their origins, they were unafraid to embrace the untraditional. Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album, “måsstaden under vatten” that was finally released October 15th, 2021, with drummer and now noted producer, Buster Odeholm (also known for his work with Born of Osiris, Shadow of Intent and guitar for Humanity’s Last Breath amongst others) heavily involved in the production, mixing and mastering of the music. While working on “måsstaden under vatten” the band also revamped their two first releases. Buster Odeholm comments: "Before I joined VILDHJARTA they were my favourite band. However, I always felt the production could be a lot better and serve the songs a lot more. After joining I asked for the files from those albums to be able to try my own approach. I’ve re-programmed/produced bass and drums from scratch. For producing the drums on ‘Thousands of Evils (forte)’ I got some help from Chris George from Sworn In. I've also remixed and remastered both albums. This has been going on a long time and a lot of remixing has been done as the years have gone by, but now it’s finally time to release it.". Don’t miss the chance to check out classic VILDHJARTA tunes in all their up to date glory, now entitled ”måsstaden (forte)” and “Thousands of Evils (forte)”. Both are available as Ltd. Gatefold marbled LP, Ltd. CD Edition and Digital Album.

With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. VILDHJARTA's down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Yet, the Swedish collective’s long-awaited album, måsstaden under vatten, is far more than a recitation of djent values. Clocking in at 80 minutes, it thematically picks up where the dark Swedish fable of 2011’s Måsstaden left off and delivers on the promise that record hinted at. Tracks like the recently released “när de du älskar kommer tillbaka från de döda” (“When the Ones You Love Return From the Dead.”) suggest a newfound subtlety and sophistication amidst the bombast and beauty in the breakdown.
Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album with drummer and now noted producer, Buster Odeholm (Born of Osiris, Shadow of Intent, Humanity’s Last Breath) heavily involved in the production, mixing and mastering of the music. Visual artist Rickard Westman, who did art for VILDHJARTA's debut as well as their Thousands of Evils EP in 2013, has also returned to the equation to reprise his disturbing visual iconography. Says the band: “Art happens when art happens.”
The sound of music is rarely this challenging, unforgettable and worth the wait.

+ Bonus 7" 400 ltd!

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

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

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

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

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

Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70's avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

By Samuel Chell/All About Jazz

Felix has been working his Studio hard this past summer and caned out a whole bunch of awesomeness! We are more than pleased to welcome him back on Dirt Crew this year after his excellent new EP on 'Bobby Donny' and the 'Buster' jam for our 'Deep Love 2018' compilation. The A-side starts off with 'Between US', a cool, pump-y and jazzy track with a hypnotic tribal bongo rhythm that winds up in that typical Leifur swirl. Followed by the super deep 'Hamburg 3011' that flicks an off-beat mash up of soul, guitar samples and funk hi-hat vs snare groove that is just irresistible dance floor goodness, we can't wait to drop this on a massive sound system. Over to the musical world of that B-side! What can we say, Felix changed his style quite a lot here and delivers some bang on Electro with 'Pinot Noir 1985' that just bounces in yer face with a dope ass beat keeping those typical Leifur flavors alive with a warped piano loop and delayed vocal snips. Second is the almost garage-y tune 'Modern Soul Classics' with massive subs underlaying the 'Rhodes' and drum cut ups, moody and deep in his signature style. The closing track is a real Icelandic Bossa Nova affair! Silky 'n smooth again he works that piano loop towards eternity, we love this piece a lot! Reminding us of past 90s electronica by the likes of 'Sabres of Paradise' or 'Nightmares on Wax'. The best ending to this EP we could have hoped for! Enjoy this varied 'n eclectic EP by our Icelandic talent Felix Leifur and make your Autumn a hot one by dropping these jams on the floor!

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back 'late' summer mood. We are very pleased to welcome yet again some new acts to Dirt Crew with the likes of 'Jaxx Madicine', 'Ouer', 'Times are Ruff' and 'S3A'. We cross many borders not only in genres but also country wise. From the heavy Disco sampled jam by French producer 'S3A' to the Jazz and Funk laden epos of the Italian 3 piece 'Jaxx Madicine' over to the Dutch deep house boys 'Times Are Ruff' who are well known from their, same named, label and finally to the Berlin duo 'Ouer' who also run an own label and released with our good friends at 'Heist Recordings', delivering an ecstatic electronic floating tune here.

This is all completed by some excellence from long time Dirt Crew artists. '25 Places' have been with us for many years now and their two Ep's have gotten so much love from the deeper deep house community. Here they drop an epic almost IDM techno like tune that closes this great album in the best possible way. Our Icelandic stall wart 'Felix Leifur' drops a heavy hitter named 'Buster'. After his recent 'Bobby Donny' Ep earlier this year we are thrilled to have him back on Dirt Crew! 'Harry Wolfman' and 'Ponty Mython' need no introduction really, they are adding Electro/ Disco/ Electronica fuelled cuts that form a great middle part to this mix of tunes. Harry going in very smooth and relaxed, something else than his usual House workout which we really loved to present to you. 'Ponty Mython' drops an irresistible 'good times' indie acid track in his unique 'free' style.

Last, we must of course not forget 'Dan Only' and key wizzard 'Lorenz Rhode'! With another beautifully smooth cut 'Dan Only' follows up on his latest debut Ep with us. Again a smart cross over in Techno and House with a distinct relaxed groove and atmosphere to it. Lorenz is back 'On Top' here after his super successful first offering to the Deep Love series last year and his 'And I Said' EP which stormed many charts. In the middle of touring and working with Detroit Swindle on their 'High Life' album we are super happy that he found the time to make another gem with that raw n funky live feel to it... We couldn't have started this compilation off with a better joint than 'Marakuja'.

Enough words for now ... just put these vinyl on your decks or stream/play it on the go and don't forget to drop them at a sweaty club night. Deep Love is here to stay!

As the head of Grounded Theory and MANHIGH, Henning Baer has since 2009 presented his downcast, experimental interpretation of modern electronic music to wide critical acclaim, establishing his forceful presence on Berlin's scene with immaculate curatorial skills and equally imposing DJ abilities. His discography so far, concentrated on Adam X's legendary Sonic Groove imprint and his own K209 and MANHIGH imprints, amongst others, keeps step with his formidable reputation and wide-ranging tastes, moving across the spectrum of hard-edged, aggressively modern techno. With 'Shatterproof', his long-germinating debut album for MANHIGH, he offers for the first time his unified vision in extended format, a varied exploration into the outer limits of the genre. At its centre a work of dark minimalism, he sets and maintains the pensive tone on ambient pieces like 'Angel Dust', 'All Over', and 'MIL-STD 461', which foreground the exploratory electronics that maintain their presence throughout. The corroded textures of the sounds, enveloped in decaying reverb, bring life to pieces like 'Never Ending' or 'Bliss', which sit between rhythmic interludes and the stricter dancefloor material found on the remainder of the album. Once he shifts into techno, he does it unremittingly, from the uptempo fury of 'Code Buster' and 'Burning Chrome', whose starkness only heighten the tension, to denser pieces like 'Drama Sky' or closer 'Vermillion Red', where the cavernous impacts of drum hits punch holes through beds of seesawing synthesizers. Shatterproof like its title suggests, Henning Baer's first album unifies and strengthens the work of an artist whose legacy is already assured.