Cerca:a funk

St. Paul and the Broken Bones announce their new album ‘The Alien
Coast’, released on ATO Records. Produced by Matt Ross-Spang and
featuring eleven new, original songs, ‘The Alien Coast’ is the first St.
Paul and the Broken Bones album tracked in the band’s hometown of
Birmingham, AL. The arrangement allowed the octet to spend more time
and tap a broader creative community than ever before, resulting in their
most ambitious work to date.
 Led by singer and lyricist Paul Janeway - a former bank teller and
preacher-in-training who learned to sing in his church choir - the octet
explore thrilling new territory on ‘The Alien Coast’, a fever dream
convergence of soul and psychedelia, stoner metal and funk, animated
by the very “fire and brimstone” which Janeway invokes in the album’s
opening line. Unlimited studio-time allowed individual members of the
band to experiment with synths and samples on ‘The Alien Coast’, and
even collaborate with Birmingham beatmaker and hip-hop artist Randall
Turner.
 Janeway cites a similarly disparate range of influences that wove their
way into the writing for ‘The Alien Coast’, from Greek mythology and
dystopian sci-fi, to works of art like Bartolomé Bermejo’s Saint Michael
Triumphs over the Devil and 17th Century Italian sculpture, to colonialperiod history books. “The title actually came from reading about the
history of the Gulf of Mexico, which is home for us,” he recalls. “When
the settlers - or invaders, really - first came to the Gulf Coast they
couldn’t figure out what it was, and started referring to it as the Alien
Coast. That term really stuck with me, partly because it feels almost
apocalyptic.”
 St. Paul and the Broken Bones have reached incredible heights since
breaking out with their first album in 2014. Their previous three albums
each debuted in the Billboard 200, their legendary NPR Tiny Desk has
over 7 million views, they’ve opened for the Rolling Stones, shared the
stage with Elton John, and appeared on several television shows
including Jimmy Kimmel Live, Austin City Limits and more. They were
also the first-ever musical performance on Stephen Colbert’s Late Show.
St. Paul and the Broken Bones announce their new album ‘The Alien
Coast’, released on ATO Records. Produced by Matt Ross-Spang and
featuring eleven new, original songs, ‘The Alien Coast’ is the first St.
Paul and the Broken Bones album tracked in the band’s hometown of
Birmingham, AL. The arrangement allowed the octet to spend more time
and tap a broader creative community than ever before, resulting in their
most ambitious work to date.
 Led by singer and lyricist Paul Janeway - a former bank teller and
preacher-in-training who learned to sing in his church choir - the octet
explore thrilling new territory on ‘The Alien Coast’, a fever dream
convergence of soul and psychedelia, stoner metal and funk, animated
by the very “fire and brimstone” which Janeway invokes in the album’s
opening line. Unlimited studio-time allowed individual members of the
band to experiment with synths and samples on ‘The Alien Coast’, and
even collaborate with Birmingham beatmaker and hip-hop artist Randall
Turner.
 Janeway cites a similarly disparate range of influences that wove their
way into the writing for ‘The Alien Coast’, from Greek mythology and
dystopian sci-fi, to works of art like Bartolomé Bermejo’s Saint Michael
Triumphs over the Devil and 17th Century Italian sculpture, to colonialperiod history books. “The title actually came from reading about the
history of the Gulf of Mexico, which is home for us,” he recalls. “When
the settlers - or invaders, really - first came to the Gulf Coast they
couldn’t figure out what it was, and started referring to it as the Alien
Coast. That term really stuck with me, partly because it feels almost
apocalyptic.”
 St. Paul and the Broken Bones have reached incredible heights since
breaking out with their first album in 2014. Their previous three albums
each debuted in the Billboard 200, their legendary NPR Tiny Desk has
over 7 million views, they’ve opened for the Rolling Stones, shared the
stage with Elton John, and appeared on several television shows
including Jimmy Kimmel Live, Austin City Limits and more. They were
also the first-ever musical performance on Stephen Colbert’s Late Show.

Once again a ground breaking album, the first Afro Peruvian music heard outside of Brazil and the album to introduce Susana Baca to the world.

“This is secret music - a collection of beautiful songs and infectious grooves that’s been hidden for years in the coastal towns and barrios of Peru. It’s not the guys with flutes and drums in woolly hats - it’s music of the black Peruvian communities. Black Peruvians? Yes, Peru was involved in the slave trade too - and this wonderful,funky music is part of that legacy” - David Byrne

Beyond their highly sought after 1978 album Festa Para Um Novo Rei­ - home to the mystical jazz-funk classic ‘Vidigal’ and released on Philips’ iconic Musica Popular Brasileira Contemporanea series (MPBC) - little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings is immensely proud to present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music.

Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious child who learned to play the accordion at the age of two, and the piano aged six. In spite of his immense musical potential, he travelled to Lisbon in the 60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings.

Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal’s Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he’d experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708 and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the ‘Brazilian Rudy Van Gelder’ whose impressive resumé includes the era defining classics Light As A Feather by Azymuth, Previsão Do Tempo by Marcos Valle, and Quem É Quem by João Donato. Marcos Resende & Index fits perfectly amongst these masterpieces, sharing both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather in particular.

This is the first release of the brand new vinyl label Terra Magica Rec. which was founded by Munich based music producers and DJs Mirko Hecktor and Tom Sprenger in mid-pandemic times of 2021.

The first release hosts two tracks of the label bosses themselves under their moniker Hektisch Sprengen DJs. In German language the term Hektisch Sprengen basically means blowing up things in a very hectic manner. Instead prepare for quite the contrary sound vise. Their tracks Social Rub and Dancing Dust are electronic, analog Slow-Disco-Cosmic-Trance-Tunes containing some SH101 and Korg synth lines with TR-808 beats and some Japanese, African 2 South-American hints. While one track is tracing an ultra rare psychedelic voice sample from Nigeria’s 70’s Highlife scene the other one uses a little boinx gag.

To round things up no other than Dirk Leyers from Africaine 808 did the final mixdown on those tunes.

On top DJ Normal 4 straight outta ‚Pott’ hits full on groove with an uncanny Funk Breaks anthem recalling early 90s Warp and the best of UK-Big-Beat-Acid and conga easiness.

Last but not least Down Under`s DJ Chrysalis jumps into the genre madness on Terra M`s first release delivering a raw UK-Garage-IDM influenced dreamy synth shiver down your spines transcending those fellow e-dancers straight into the golden years of club culture.

Recorded in 2012 following their breakthrough LPs for Freestyle Records - and stored in The Apples vault maturing ever since!
It seemed like the band were a ways past due a return to the label, and what better way could there be than to release this powerful, uplifting & headbanging Blur cover.

Wherever you are and whoever you're with, whenever you feel like screaming on the edge of a cliff or to simply dance like the end of the world is coming (all imminently possible!) this one is for you. Backed up with the irresistible klezmer-funk energy of The Apples' 2009's take on The Power, because we just couldn't resist giving it another blast on wax.

Produced By Yonadav Halevy
Recorded, Mixed & Mastered By Uri "MIXMONSTER" Wertheim
Executive Producer: Erez Todres
Arthur Krasnobaev – Trumpet
Yaron Ouzana – Trombone
Oleg Naiman – Tenor & Soprano Saxophones
Yakir Sasson – Baritone Saxophone
Erez Todres – Turntables
Ofer Tal – Turntables
Alon Carmely – Double Bass
Yonadav Halevy – Drums
Uri "MIXMONSTER" Wertheim – Sound Console, Tapes, Effects
Recorded At Luna Studios, Tel Aviv With Roy Nadel, 2012.
Art by The Bitterman Sisters. Thanks To Fada Zach Bar.

• A straight reissue of this super-rare funk single from 1970 on the Call Me label.

• Original copies of this political soul anthem change hands for a lot of money.

NYC-based collective MICHELLE release their debut album,
‘AFTER DINNER WE TALK DREAMS’, via Transgressive
Records.
 MICHELLE recently announced new 2022 US tour dates with
Mitski. The band also toured with Arlo Parks and followed with a
string of dates with Gus Dapperton in November and a UK and
European headline tour in February.
 Born-and-bred New Yorkers, MICHELLE formed in 2018 and
are comprised of Sofia D’Angelo, Julian Kaufman, Charlie
Kilgore, Layla Ku, Emma Lee and Jamee Lockard. The
predominantly POC and queer collective mix and match the
writing and production groups amongst the six of them.
 The hallmarks of MICHELLE’s music - layered vocal harmonies,
analogue synthesizers, vibrant percussion, smouldering hooks -
dominate the sonic landscape of their upcoming album, with the
four female vocalists pushing the boundaries of their
considerable singing talents while Charlie and Julian fine tune
the production. Despite all the tinkering elsewhere, it is
important to note that the vocals remain largely untouched and
appear in their organic state.
 Songs hop across genres, from funky R&B to bedroom slow
jams to amped-upbeat-heavy anthems and more. The
songwriting on ‘AFTER DINNER WE TALK DREAMS’ has been
elevated, as there is a depth and prowess at work that makes
good on the promise of the band’s early songs, something they
admit was learned by reflecting and allowing room for artistic
growth.
 “crisp R&B with a bright indie flourish… musical serotonin you’ll
want to bathe in for hours” - NME
 “A formidable new collective with a genre-bending approach to
songwriting” - The Line of Best Fit
 “like an aural hit of Vitamin D” - DIY
 “we can’t get enough” - Gay Times
 LP pressed on Ocean Blue vinyl.

Scott Lavene is set to release ‘Broke’ on 7th June 2019, an album that is drenched in living in the gutter but staring at the stars.

Lavene has the lyrical smarts and the fairground bark of an Ian Dury, the incisive wordplay of a Costello and the deadpan pop of Madness in his creative DNA, along with the street poetry of an Essex boy version of Lou Reed, the dislocated funk of Talking Heads, the jellied eel lyrical bounce of Chas and Dave, and the inventive surreal see-saw of a Tom Waits, and many other nonconformists.

It’s an intoxicating brew that he makes his own in this collection of wonderful quirky songs that make up ‘Broke’.

These are songs that are full of detail and a life lived in scuffed shoes, rainy towns and the magic of the everyday. Songs about small talk, being skint, doomed affairs and the sweetness of falling in love over a cup of tea.

Creating unconventional backdrops for his street tales Scott builds up shapeshifting rhymes and looping grooves.

Martin Rude & Jakob Skøtt Duo released 2 albums in 2020: The Discipline of Assent & The Dichotomy of Control. For the third installation in their Stoic opus, they join forces with Tamar Osborn on saxophone & alto flute. Similar to their first 2 albums, Rude & Skøtt improvised a tidal wave of ideas and grooves in the studio of Causa Sui’s Jonas Munk, the perks of which were shipped to the UK for Osborn’s overdubs of echo-drenched sax and wah-flute. An improvisation rippling across time & space, merging a river of constantly in flux head-on improv, as well as making room for floating harmonies and studio-wizardry. Playful, experimental and explorative, the trio ventures into a free wash of exotica drenched in deep modal jazz-vibes - with splashes of something more futuristic and modern. But contrary to what the title suggests, there are also roaring waves of energy, sizzling funky grooves to complement the ambient undercurrent. It’s a record akin to the library & film music of the 60’s and 70’s and an ode to the willful river of experimental moderation. Far in. Bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a long-standing member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab, and is an in-demand session musician. Martin Rude: Multi-string instrumentalist & lead singer in Sun River, as well as stand-in bass player in Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, as well as responsible for the label’s visuals.

Superb collection of the best tracks by Turkish electro-saz legend Arif Sag, some tracks with arrangements by Zafer Dilek. Killer Turkish psych-folk-funk grooves from the golden era of Anatolian Rock, all housed in such a beautiful cover design!!!

Rare Groove Spectrum Vol. 2 is another solid collection of re-works and re-imaginings taking in a broad range of classic tracks, traversing jazz funk rarities, balearic digs, latin groovers and more. Backed by a stellar group of Melbourne musicians including members of The Bamboos & Menagerie, Lance continues the tradition of creating "live re-edits" demonstrated on the initial volume - all pulled off with an inimitable style and playfulness, though always with an obvious love for the foundations.

As Lance says: "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band"

From Carly Simon through to Mongo Santamaria via Marcos Valle and Pat Metheny - and following the championing of Rare Groove Spectrum Vol. 1 by the likes of Gilles Peterson, Craig Charles, Jazz FM and more - this second volume of Lance Ferguson's Rare Groove Spectrum is sure to hit the sweet spot.

Toronto party and record label Hypnotic Mindscapes returns with the second instalment of their compilation series featuring an array of Canadian and International artists both established and emerging.
The A side begins with label head Cosmic JD exhibiting a high-energy, acid-infused number, entrancing and mysterious modulations ideal for the witching hours. The A2 cut welcomes long-time Hypnotic collaborator, Montreal ’s own Adam Solomon aka Weekend Logic with a retro-futuristic acid breakbeat with round basslines and enhancing science-fiction melodies. On the flip-side, Hypnotic member DJ Zenta from Tokyo debuts on the label with an unique approach to timeless progressive and tech-house vibes. The final cut on the B-side presents Japanese via Toronto Masayuki Tomita contributing with an after-hours track that exposes his signature of funky and wonky analog electronics. Full colour sleeve art by label artist Sofia Eleni.

Our exploration of Ballet Mechanique’s old DAT archives, stack full of unreleased material from the 90’s era, continues with our sixth release and materializes into the third volume of the “1992-1999 Collection” series. Like the previous two volumes of the series did, also this EP brings to lights the diverse and varied approach of Jeroen’s productions: an A side featuring more “ravey” and uplifting tunes, and a B side focused on funk fuelled electro and IDM.

The first Delights release of 2022 sees the return of the Haifa-Jerusalem duo SimfOnyx (Shuzin and Markey Funk) with a new psych-funk double-sider. Taking its inspiration from the long-forgotten genre cinema of East Germany, the 45 features "Der Maulwurf" (The Mole) - a drum-heavy crime funk banger, paired with a melancholic space age slow-burner "Eolomea" on the flipside.

Limited to 300 copies worldwide.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

• First time on 7-inch for the classic P-funk break beat cut as used by the Prodigy, Fat Boy Slim and others.
• It’s the same deal with the alternate version of the downbeat funk of ‘Cookie Jar’.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.

A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.

Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.

A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.

The 18th offering from Instinct features four different acts, each with their own take on moving the dancefloor. Pinder P has a funky house/UK garage flavour to it but laced with wonderfully deep bass heavy and shaky enough to dislodge fillings. Papa Nugs' 'Super Beagle' delves even further into the raw aesthetics of early hardcore and especially the reggae-tinted futurism of Shut Up & Dance, Ragga Twins and Hype. DJ Crisps has arguably the least retro sound, relying on very steady and sturdy, more US garage-slanted beat foundations, before the EP is rounded off with the bubbling, skippy 'Only You' from Yosh, re-connected with a subtle reggae flavour to its UKG swagger.

"""Riding SCORCHING hot on the heels of their recent self-titled debut, fans could be forgiven for expecting more of the same from Champyun Clouds’ second long player of
2021. A hodgepodge of cutting-room-floor-fodder and experiments that would’ve been b-sides or Japan-exclusive CD bonus tracks in those halcyon days of physical formats’ golden ages is not what we’re getting. Let’s save those for a deluxe anniversary reissue
one day. Nah - sheer, unabashed creativity fuels this album; and weirdly enough, they’ve managed to branch out in interesting ways while also creating an album that is more immediate and banger-centric. Although Nail’s eclectic psych-lounge tendencies and
Asa’s irreverent poetry and broad Nottingham lilt remain the key touchstones of CC’s sound, opener “Check For Silt”s rough drum’n’bass beats offer an immediate and clear sonic progression for the Nottingham duo. The LP ultimately plays a bit like a haunted
jukebox in outer space - with elements of dub, britpop, early house, trippy, blissed-out sunshine pop (reminiscent of mid-90s His Name Is Alive at their most Beach Boys-aping), William Orbit-esque 90s psych-pop electronica, distorted glam rock shuffles and
garage-y funk. There’s a particularly great moment of sequencing at the end of the first half where I got lulled into a state of near-euphoria with the Air-like “The Flowered Crown” before getting slapped ‘round the face by “I’m Not Right For You”, which sounds
like Nile Rogers producing a demo for Sheila & B. Devotion, except he recorded it at the bottom of a well. Sophomore slump? Never heard of him, mate."""

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.

The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.

The mixed version of the entire compilation is contributed by Sally C.

The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.

Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

Feel-good funk and hip-hop duo, The Allergies, offer up one last ray of audio sunshine from their smash hit album, Promised Land.

Featuring the unmistakable voice of Bay Area luminary, Lyrics Born, 'Going to The Party' is the ultimate celebration of good times, good friends, and good music. Throwback raps weave wickedly with infectious grooves and a sing-a-long chorus, making this the perfect soundtrack for all your get-togethers and funky affairs. And now, the limited edition vinyl release offers up an extended version, with extra house-party warming verses from L.B!

And, that's not all. As, taking B-Side Banger status on the 45 is 'Utility Man', featuring the dynamite mic prowess of L.A rap hero, Andy Cooper. Riding a super slick double bass groove and neck snapping drums, the L.A. hip-hop legend flips fearsome rap styles, pitching his case as the ultimate go-to gun-for-hire M.C.

And who are we to argue? It's two serious sides of funky rap goodness. Or, as Andy puts it, "The beats bang and the music's timeless". Indeed.

a a1: Going to the Party (Extended Mix) feat. Lyrics Born

Having produced the Emskee – Wall To Wall 12” released early 2021, AE boss Mr Fantastic is back with another slab of essential Hip Hop made without pretence or adhering to modern trends – in others words, how it used to be. Featuring Teekay of Dragon Fli Empire, hailing from Calgary, Canada, ‘Breakdown’ is a stand-alone single with no plans as being part of any album release right now and comes with the Instrumental version on the flip. Pressed on black vinyl and supplied in full colour card sleeve, as is the standard high-quality packaging from AE Productions.

Although only being acquainted via the internet, Mr Fantastic and Teekay have mutual admiration for each other’s work which lead to this collaboration. This funky 45 features crisp drums and disco funk samples that have been chopped into that good old Hip Hop. The beat has a reasonably sparse stabbing feel with subtle wah-wah guitar between the stabs which bounces along not just at a perfect tempo for DJ’s but also sonically perfect for a big sound system, hence this track being picked for a single release and packs that punch that sounds best played loud. No moody introspective thing here, this is crowd rocking Hip Hop.

Teekay’s rhymes flow over the beat like it is 2nd nature to him because, well, it is 2nd nature to him, and is further evidence of why his group Dragon Fli Empire alongside DJ Cosm, have been able to maintain a steady string of superb releases going all the way back to 2002 and have toured Canada, USA and Europe. The chorus features Mr Fantastic’s turntable skills backing up Teekay’s vocal giving a nicely conceived and executed song structure with a little help from 2 of Soul and Funk’s legends.

The artwork for this one was hand painted by Bristol graffiti heavyweight Turroe who favoured a nod to comic book covers for the theme which was then scanned and arranged into the sleeve format with courtesy of AE artwork regular Nick Pointon of Fine Print.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!


"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Angel Olsen covers “Something On Your Mind,” while Karen Dalton’s version is found on the flip.
The latest release in Light in the Attic’s 7" Covers Series.
Artwork by Los Angeles-based fine artist Robbie Simon.
Pressed at Third Man Pressing. Non-Returnable.
Didn’t you see, you can’t make it without ever even trying? — Dino Valenti, lyrics from “Something On Your Mind”
Light in the Attic is honored to be releasing Angel Olsen’s gorgeous cover of Karen Dalton’s moving interpretation of ‘Something On Your Mind,’ a song that enduringly underscores the unspoken thoughts, painful truths and buried emotions between people and within oneself. Thematically, the song is universal and resonates as much with listeners today emerging from a post-pandemic world as it did for Karen Dalton when she first recorded it in 1971 for her second and final studio album, In My Own Time. “‘Something On Your Mind’ for me is about letting yourself face something that keeps setting you back,” says Angel Olsen, who has come to the forefront of Karen Dalton appreciators around the world, both in her contribution of this new interpretation and as the voice of Dalton’s personal journals in the recent documentary, Karen Dalton: In My Own Time. As part of the latest installment of LITA’s long-running cover series, Angel’s cover is found on the a-side, while the flip includes Karen’s 1971 version.
Previous singles in Light in the Attic’s Covers Series includes musician, poet, and author Leslie Winer collaborating with Manchester-born composer Maxwell Sterling on a truly gorgeous cover of Tim Buckley’s 1967 forlorn love song “Once I Was,” Bill Callahan & Bonnie ‘Prince’ Billy covering Johnnie Frierson’s beautiful and inspiring tune “Miracles,” BADBADNOTGOOD with Jonah Yano covering “Key To Love (Is Understanding)” by Milwaukee’s funk/soul pioneers Majestics, Charles Bradley & the Menahan Street Band covering Sixto Rodriguez, Mac DeMarco covering Haruomi Hosono’s “Honey Moon,” and Iggy Pop with the Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind, amongst many others.

Freestyle Records run off a gem of 45 with two tracks from their recent Bunny Scott reissue project, showcasing the early-Black Ark debut LP of Scott (aka Bunny Rugs, later of Third World).

The Blaxploitation-influenced funk track 'Kinky Fly' features members of The Chi-Lites' backing band (passing through the infamous studio whilst in Jamaica for a series of shows) - their horn section and Chinna Smith's wah-wah guitar shine through with synth overdubs adding to the mood, underpinned by the ghostly click tracks of the Conn Rhythm Unit (constituting one of Scratch's earliest experiments with drum machines). On the flip, the upbeat 'Sweet Loving Love' boasts a jaunty synthline high up in the mix and a stellar rhythm section augmenting Bunny's soulful tenor.

Life is slowly but surely returning to “normal”. From festivals to clubs,
many countries have begun to allow cultural events to take place with an audience again. It feels great - if occasionally still unfamiliar - to
rediscover and experience the way we used to live, love and party.
Janefondas’ new release “French love” is the perfect dancefloor weapon for this year’s summer season. This disco-house tune is driven by optimistic, uplifting vibes and funky guitar riffs. Strings full of desire and a touch of melancholy put smiles on faces whenever and wherever it gets played. Fortunea Records is proud to contribute this little treasure to the summer season of 2021.

"Ode To David”, the B-side track, rolls out darker vibes. It´s a thrilling
house tune that combines raw, crunchy disco-loop filter madness and
acid elements that let you forget the sorrow of the past.
Have fun this summer, be respectful, and stay safe.
Yours truly, Fortunea Records team.

This Release is limited to 300 vinyl copies.
Strictly no repress!

Travelling Without Moving; long considered one of Jamiroquai’s most
popular albums and the best-selling funk album of all time celebrates it’s 25th year in 2021 with this special heavy weight coloured vinyl release.

Originally released in September 1996, the album features seminal hits ‘Virtual Insanity’ & Cosmic Girl’ which helped catapult it to #2 in the UK charts and Jamiroquai into the limelight globally.
This edition includes an updated sleeve for 2021, new liner notes by
Jamiroquai frontman JayKay and the Dimitri From Paris Remix Radio Edit of Cosmic Girl, previously only available physically in limited numbers on Dimitri From Paris’ own label.

English jazz-funk band Level 42 released their tenth studio album Forever Now in 1994. While Forever Now marked the return of original drummer Phil Gould, it was the last album before the band’s breakup. Featuring the popular singles “Forever Now”, “All Over You”, and “Love In a Peaceful World”, the album was a commercial success. It reached #8 on the UK album charts. Music critics were also generally favourable, calling it the band’s “best album since the mid-80s heyday of World Machine and Running in the Family”.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!

"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

One of the promoters and DJs behind South London party Big Dyke Energy, Elliott is part of a new wave bringing contemporary queer energy and attitude to clubland. Following an EP on Kouncil Cuts as one half of Faff, working alongside Ornography, ‘Transcendence’ marks their debut solo EP.

If you’ve ever wanted to hear more acid in garage, the epic bubbling 303 breakdown of two-step opener ‘Tender’ answers your prayers, its ghostly lead out-emoting even Four Tet. ‘Loose Tooth’ then lands in clubbier territory, dubby rave synths again deployed with a canny melodic ear.

On the flip, ‘Metamorphic’ is noir electro, UV bleeps and infrared bass cutting through its heavy, murky atmosphere. Working her trademark magic on the remix, Naive boss Violet bumps up the tempo, turning in a cut of booming, bottom-heavy machine-funk, a dub siren and half-time section nodding to the influence of UK rave culture.

Ludovico wollte schon seit mehreren Jahren ein Solo-Klavieralbum schreiben, brauchte aber das richtige Umfeld, um sich voll und ganz darauf einzulassen.

Lockdown gab ihm diese Gelegenheit. Er nahm die Isolation von seinem normalen, geschäftigen und komplexen Zeitplan an, um einen Ort der Einfachheit zu finden. Dies ist also eine positive Sicht auf Lockdown und Isolation; er nutzt diese seltene Gelegenheit, um die einfache Schönheit des Songschreibens in seiner reinsten Form zu erleben. Keine Technik, keine äußeren Einflüsse, nur Ludovico und sein Klavier.

Infolgedessen ist das Thema des Albums die Freiheit von den typischen Grenzen unseres täglichen Lebens. Dies wird in der Metapher ”Underwater” ausgedrückt. Ein freier und offener Raum, in dem man sich bewegen und erforschen, schweben, innehalten, sich in 3 Dimensionen bewegen kann usw. Ich persönlich denke, dass ein Vogel, der durch die Lüfte fliegt, auch als Metapher für dieses Gefühl der Freiheit funktioniert.

Ich nenne es Songwriting und nicht Komposition, es war ein neuer Ansatz für mich: Beim Komponieren denkt man nach und erforscht, vergleicht und ist ehrgeizig. Wenn man ein Lied schreibt, ist es wie Atmen, die Form ist kurz. Ein Lied ist wie die Schönheit eines einzelnen Atemzugs - eine Welle, die kommt und geht. Es ist schön, wie es ist - es braucht nichts anderes.“

With the release of SOUL FOOD 3, KOGNITIF exquisitely completes the SOUL FOOD trilogy and invites you for this feast he started 7 years ago.

Your host is generous and consistent: Punch for starters, chill for the main course and groovy cake for dessert, all of which sprinkled with Electro vibes, Hip-Hop beats, soul and blues. The basics of any healthy diet.

Chef's special suggestion ?

...Have some more Good Mood !

Endlessly sampled, covered, quoted and requoted, this may well be one of the most influential hip-hop singles ever released. But, in many ways, its importance goes beyond its sheer classic status as a single in its own right.

In retrospect, it shows the duo of Erick Sermon and Parrish Smith as pioneers in production, creating a funk-based sound that helped to provide a blueprint for artists on the other side of the country. In 1987/88, most West Coast rap still adhered to an East Coast audio blueprint. By 1989, they were leaning as heavily on Zapp and Roger Troutman samples as EPMD were on this single.

The foundations of the track are interesting, with a snatch of Juice’s much-plundered ‘Catch a Groove’ (which has popped up everywhere from The Beastie Boys to Kings of Pressure) overlaid with big chunks of Kool & The Gang’s ‘Jungle Boogie’ and Zapp’s irrepressible ‘More Bounce to the Ounce’. Vocodered funk was a rarity in New York hip-hop until this song, but it’s the West Coast G-Funk artists who really ran with it.

Its popularity spanned the country (and the globe, to be fair), with EPMD performing numerous shows in California on the basis of the sound, moving away from their James Brown-obsessed peers to display their own musical tastes. That said, the flipside – here presented on 7” and, indeed, on any single, for the first time – takes it back to that JB-era. ‘(It’s Not the Express), It’s the JB’s Monaurail by The JB’s is woven with Otis Redding and Beastie Boys to create a mid-tempo headnodder par excellence. It was always too good not to be a single.

With a little patience and a lot of finesse, Jakobin & Domino cooked up a fine new five track House EP for Luv Shack Records.

The eponymous opener "Lost Memories" effortlessly blends jazzy rhodes and emotive string samples with a funky percussive track and a stomping four to the floor beat.

"Hypnotica" delivers what the title suggests; haunting arpeggios go hand in hand with eerie 7 chords and hushed vocal samples, albeit with a jacking groove laying the foundation.

On "Molecules", Jakobin & Domino evoke classic Chicago house vibes with a shuffling beat, a funky synth bass and uplifting chord stabs to boot.

The arguably most classic J&D sounding track on the EP is "Needed", a hard hitting joint that blends a sombre piano chord progression with dreamy acid lines, evoking major dub house feelings.

"Unbogeba" is a laid back slice of deep house that nicely wraps up the EP, with a lingering afro vocal sample and super lush organ chords, it's the perfect track for hazy afterhours.

REPRESS!

Marcos Valle - Mentira

Valle is a Brazilian singer, instrumentalist, songwriter and record producer of the highest order. His roots lie in Bossa Nova and he was one of the youngest talents in the scene, extensively touring the USA and residing there for many years. Valle's music crosses touches many styles including samba, rock, soul, jazz, boogie and disco.

Signed by Odeon in 1963, he recorded ten studio albums for them between 1964 and 1974. He also recorded for Verve, Warner and Som Livre among others.

Mentira is a re-record of his own song 'Mentira Carioca' - released four years earlier by Odeon - and appears on his 1973 LP 'Previsão Do Tempo' on Odeon.


Toni Tornado - Me Libertei

This is the second track that we have re-issued by the one and only Toni Tornado, master of Brazilian Funk.

His career began as 'Tony Checker', lip syncing to rock 'n' roll hits and touring extensively outside of Brazil. Whilst in New York he met Tim Maia and became involved in the 'Black Rio' movement. Toni also worked with Ed Lincoln and Antonio Adolfo amongst many others. He had a successful acting career and starred in many soap opera's.

It appears alongside 'O Jornaleiro' on his sought after BR-3 LP from 1971 on Odeon. 'Me Libertei' has never been released on a 7.

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

Inhale Exhale is extremely proud to present you the latest release of Buzz Compass from Russia, this time with a LP ! This guy has it all. The Album is a perfect Journey from Classic Deep House, over Funky Cuts to Ambient House Vibes with a Bliss of 80s Synth Sound a la Jan Hammer. Our 12th Vinyl Release will make you jumping out of your Shoes and Socks !!!

Lockdown took its toll on Clive. Not the isolation or sense of impending doom - that was normal - but specifically the worldwide marmite shortage in April. On the verge of a 'Driving to Dundee barefoot' style meltdown, Clive found solace in his 20 year obsession with Alan 'foot on a spike' Partridge.

Taking Musique Concrete to its textbook conclusion, Clive has made music only using sounds from TV series 'I'm Alan Partridge'. Over 100, mainly foley samples were repurposed into the two title tracks of the Alan EP.

Alan A is a raw yet melodic, big plate of House. Containing everything from drawer slams to air bass, cereal destruction to Black Beauty, this orchestra of found sound makes for some unique and exciting rhythmic textures. Grab a cup of beans and enjoy.

Things take a dubby turn for Alan B. Late night broken beats and sultry bass worthy of Alan's Deep Bath. Featuring Lynn on jungle time-stretched vocals.

The EP is bought to a close by off-kilter acid-tinged synthwave nugget, Linton TT. It doesn't fol-low the Partridge sampling rules but needless to say has the last laugh.

Bonus Easter egg for the vinyl heads is a "Dan!" locked groove at the end of side A. Cook a cat!

Label info:
Income Trax is Clive from Accounts' filing cabinet of curiosities. Home for his more eccentric and exotic ideas.

Artist Bio:
Regional tiddlywinks champion, stationary cupboard loiterer and all-round beige sky thinker, Clive From Accounts likes two things; pens and music. But mainly pens. Using springs, tape and old synths with fonts he admires, Clive creates the musical equivalent of warm photocopies. If it's going to be that kind of party, Clive's going to put his Filofax in the mashed potato.

It's been an interesting couple of years for Clive. After being picked up by keen-eared funk wizards Fouk, Clive's vinyl debut hit the shelves perfectly to coincide with the largest record shop and club closure in living memory. Undeterred and with a fire in his belly no amount of pepto-bismol could squash, he pressed on.
A string of releases on highly respected labels On The Corner in London (making the Guardian's best tracks of 2020) and Dirt Crew Recordings in Berlin have led him nicely into the second half of 2021 with an EP on New York disco colossus Razor n Tape and the debut release of his own label: Income Trax.

This release is a special one; a moment where the two halves of the Mr Bongo record label unite, our heritage re-issues and our contemporary artists roster.

Minoru Muraoka’s 'The Positive and the Negative’ is a firm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese flute, flex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative’ featured on the 1970 'Bamboo’ album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record’s cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne’s Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.

"Minoru Muraoka’s ‘Bamboo’ LP has long been a fixture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo’s extensive catalogue of reissues, and certainly the most influential to Surprise Chef; The Positive and the Negative’s cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records. We’ve borrowed an element or two from the tune over the last few albums (such as the percussion on ‘The Limp’), so it felt right to go head first into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo’s attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were finally happy. We stuck a fork in it late into the night, satisfied that we’d had our best crack at paying homage to a masterpiece by the great Minoru Muraoka.” - Surprise Chef

Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect. The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein flows richly through both instruments

The 7" vinyl format was the right fit for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7” version to accompany Surprise Chef’s new take.