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Cyphon is proud to bring you brand new music from one of Europe’s pioneers of techno and IDM, Stefan Robbers aka Terrace and Florence. His early releases for Djax-Up-Beats and his own Eevo Lute Muzique in the early 90’s were hugely influential striking a sweet spot between stark minimalism, majestic analogue lushness and dance floor grooves. In more recent years his own reinterpretation of the Detroit sound can be found on the highly regarded Dutch label Delsin.

Here on his ‘Thermionic EP’ Terrace sings out with such intensity that minds are blown. Listen to the brutal, exhilarating sequences of ‘Territorial’ which leads the new EP, and you will receive that message loud and clear. While the music is as much about the consequence of soulful depth, it is also about edgy machines communicating intimately. Sweet chords fuse and then contrast with grainy acidic sonics, leaving the tempo poised at an irresistible pace like all our futures depended on it.

As you move next onto the more subtle electro pulse of ‘Thermon’, shimmering keys dance around a frame-by-frame remembrance of robotic disco in the 23rd century. The uplifting brilliance of ‘Woodward’ follows filling the void with an explosion of colour that is all about life-affirming instrumentation, hitting you fast and loose with a cascade of arpeggios, tough drums plus an incendiary surge of melodic distraction causing the airwaves to crackle with celebration.

Completing this stunning release from Terrace are the fierce, hotwired grooves forged by ‘Ritual’, conjuring up endless combinations of an analogue model rediscovered. The sheer dancefloor animation found within each of Terrace’s productions on this EP purposefully point to and enhance Cyphon Recordings own mission to explore, propelling the emphasis forever forwards.

DJ Support:

Sean Johnston, Kevin Reynolds, Vince Watson, Gareth Sommerville, Daniele Baldelli, Dj Rocca, Massimiliano Pagliara, Craig Smith, Jason Kendig, Rarish & Yoshi Horino

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Repressed, note price increase. Remastered from the original masters and pressed extra loud for DJs. There are very few albums across any genre that stand the test of time better than 93 ‘Til Infinity, the classic debut record from the Hieroglyphics crew’s very own Souls of Mischief. In an era where Gangsta Rap and G-Funk dominated the West Coast Rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre’s and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples. 93 ‘Til Infinity was propelled into success by its title track and lead single, which reached #32 on the Billboard Hot 100. It also featured singles “That’s When Ya Lost” and “Never No More” which also reached the Hot Rap Singles. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums of All Time. Considered by many to be a textbook “slept-on” classic Rap record, 93 ‘Til Infinity has only grown better with age. The album simply defines the Hiero golden age with a sound that would later be fine tuned with strong releases from MCs Del The Funkee Homosapien, Casual and Pep Love. It takes some serious bravado to name your album 93 ‘Til Infinity, but certainly the goal of creating a Hip Hop “classic” must have been on the collective minds of group members A-Plus, Tajai, Opio, and Phesto when recording this landmark moment in Hip Hop history. It’s true, even seventeen years after the album’s initial release many people are still discovering it, and with this re-mastered reissue on double vinyl, fans all over the world will once again discover the brilliance that 93 ‘Til Infinity delivers and will continue to deliver beyond infinity. A1. Let ‘Em Know (Produced by Domino) A2. Live and Let Live (Produced by Domino) A3. That’s When Ya Lost (Produced by Del tha Funkee Homosapien) B1. A Name I Call Myself (Produced by Del tha Funkee Homosapien) B2. Disseshowedo (Produced by Domino and Jay Biz) B3. What a Way to Go Out (Produced by Domino) B4. Never No More (Produced by A-Plus) C1. 93 ‘til Infinity (Produced by A-Plus) C2. Limitations feat. Casual (Produced by Jay Biz) C3. Anything Can Happen (Produced by A-Plus) D1. Make Your Mind Up (Produced by Del tha Funkee Homosapien) D2. Batting Practice (Produced by Casual) D3. Tell Me Who Profits (Produced by Domino) D4. Outro (Produced by Domino)

Don Glori, a.k.a multi-instrumentalist Gordon Li, returns with a remix EP that tears open five tunes from his groundbreaking debut, Welcome.

Taking an opportunity to sink into some of the ideas explored on the original album, the five remixes featured here sees some of Europe and Australia’s finest throw open the shutters and shine a light on Li’s inventive compositions and remarkable instrumentation.

Rosie from the Block, a.k.a Belgian multi-instrumentalist, producer and DJ Roselien, leans right into the percussion and drum kit playing that made Welcome so infectious, layering this with cheeky bubblegum-beat bass lines that lend the whole affair an incredibly smooth, street-soul styling.

Other key players include Swedish duo Mount Liberation Unlimited, lending their take on things an introspectively dark, brooding atmosphere that evolves into one of their trademark acid-house extended journeys; Australian radio DJ and producer Ennio Styles working alongside Liam de Bruin, hip-hop/soul duo Man Made Mountain, led by MC Cazeaux O.S.L.O, and an insanely infectious organic house take on hit single Dlareme by one of Melbourne’s finest, Teymori.

A perfect companion to an album that broke open the Melbourne scene and laid out new parameters for the quality of jazz, samba and funk-inspired music emerging from that city, Welcome Remixes breathes fresh life into this incredible album and reminds us just how goddamn fun making, playing and performing music can be.

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The seventh edition of Defected’s vinyl series continues to commit the labels’ biggest digital releases to wax, delivering upfront packages of house heat previously unavailable on vinyl. Italian duo Havoc & Lawn open up the A-Side with their Defected debut ‘Give It Up’, partnering with London vocalist Jinadu on this soulful and atmospheric club cut. Up next rising star of Defected and house music maestro OFFAIAH delivers his signature bass-driven style on ‘Soldier’.
On the flip, Endor’s Defected debut and incredible smash hit ‘Pump It Up’ sets the B-Side off to an electrifying start, before the otherworldly Chicola remix of Sandy Rivera & Rae’s ‘Hide U’ rounds off this essential release from the Defected camp.

After the white cover of the first volume and the silver one of the second volume, the third new chapter was to be dressed in the golden one.

This brand new "golden edition" double LP includes only rarities and '77/'78 Baia’s heritage hymns.

In the inner case we can find the iconic comics of the "antibaia", made entirely by Andrew Joseph Corsaletti, Andrea for friends. These comics were a regular appointment for all fans of "The Baia's Time", the Baia degli Angeli’s newspaper.

Dames Brown continue to build upon their Defected success with this three-track vinyl package, featuring remixes from two highly respected house selectors. May 2023’s release of ‘Glory’ with Dirt Tech Reck label founder Waajeed saw the uplifting track spotlighted by BBC Radio 6’s Craig Charles, capturing the effervescence of the Dames on his flagship show. Experience the extended version of ‘Glory’ on wax for the first time, in addition to Chicago pioneer Kelly G.’s Dancing Dub Club Mix, a previously unheard wax exclusive built on a distinctive, dancefloor ready 4x4 kick. On the B-side, fresh from their double release on Classic Music Company that received major BBC Radio 1 attention, ‘We Give Thee Honor / Makes Me Wanna’, the soulful innovators Floorplan lend their unmistakeable brand of eclectic, gospel house to ‘Glory’ for a match-made-in-heaven remix that celebrates the two neighbouring genres of soul and gospel.

Oliver Dollar’s Industry Standard welcome Detroit’s Outr Drive featuring vocalist Steffanie Christi’an for a vinyl release on the label. This package presses up the original ‘You Don’t Know’, first released on the label in 2021, with remixes from John Arnold & KON.

The original sees Outr Drive deliver a low slung, soul drenched, deep house track with a live bass line and lush keys that set the tone of a track for a wonderful vocal from Steffanie. The song is both emotive and seductive and shows off her amazing vocal range.

Detroit’s John Arnold steps up for the first remix taking his version into a deep electronic, synth driven work out, using the vocals to blistering effect over his swirling Detroit styled synth chords.

Over on the B-side we have some disco gold from Boston’s KON. He’s crafted a vintage styled disco record around the vocal that sounds truly authentic, almost feeling like it was recorded in a live session. This mix oozes quality and will be a timeless floor pleaser for the cooler floors.

The only track with vocals on Steel City electro-funk wizard Buscrates' second full-length album is "On My Way," where Soraya Watti's smooth and soulful tones prove to be the perfect addition to the Buscrates machine. This is exactly the kind of cut that used to cause rewind buttons on boomboxes to get their wear back in the day. It's a great indicator of the mostly-instrumental delights which await you on Crates' much-anticipated album release.

The best R&B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC & the Sunshine Band, Willie Clayton, and many others. He's also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and SSS labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like "Child of the Streets", "Troubled Child," & "What's It Gonna Be," share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.

R&B, funk and soul icons Kool & The Gang are returning with a new album release – People Just Wanna Have Fun is out July 14, 2023 on Astana Music Inc. With six decades of hits, the internationally celebrated group continues to tour the world and recently performed on Good Morning America. The band is led by founding members Robert “Kool” Bell (bassist) and George “Funky” Brown (keyboardist, drummer & producer of this album), whose book Too Hot: Kool & the Gang & Me will be released on July 11, 2023. Continuing to release music that makes the good times better and the bad times more bearable, this collection will be the band’s 34th studio album, featuring some of the last studio work by founding horn players, Kool’s brother Ronald “Khalis” Bell and Dennis “D.T.” Thomas, who passed in 2020 and 2021. Lead vocals on the album also include Sha Sha Jones, Shawn McQuiller, Lavell Evans, Dominique Karan, Rick Marcel and Walt Anderson, plus rappers Ami Miller & Ole’. Both Bell and Brown view People Just Wanna Have Fun as a summation of their long career, during which they sold 70 million albums worldwide with hit singles like “Celebration,” “Ladies Night,” “Get Down on It,” “Hollywood Swinging” & beyond. Since their start in 1964, the group has amassed two Grammy Awards, seven American Music Awards, a BET Soul Train Lifetime Achievement Award and star on the Hollywood Walk of Fame. Kool’s bass guitar is even featured in the Smithsonian Museum of African American History and Culture in Washington, DC. From Newark to Nairobi, Kool & the Gang have performed continuously longer than any R&B group in history and are the most sampled R&B band of all time, including by Madonna, Jay-Z, Beastie Boys, Janet Jackson, Cypress Hill and P. Diddy.

After the release of 2001's 'Fuck Art', The Dirty Nil jammed in their practice space for weeks, not overthinking anything or taking any external input. They didn’t sweat the small details or fret over transitions and arrangements. Less second guessing, more reckless abandon. It’s the same approach to rock they’ve taken since they were kids. “We had the best time pulling these songs together. It made me feel like a teenager in my parents’ basement again,” Bentham says. What came out was the appropriately titled Free Rein to Passions. Their youthful rock-worship approach is immediately apparent on the album’s opener “Celebration,” which cuts in via a chugging metal riff, a subtle ode to one of the Nil’s influences, Power Trip’s late frontman Riley Gale. From there, the band indulges their loudest, gnarliest inclinations, making casual nods to their more chaotic favorites, including everything from the Jesus Lizard to the Blood Brothers. And on the album’s catchiest single, “Nicer Guy,” the Nil reminds listeners that they also still wield the power to stitch a perfect, infectious pop hook into their rock fabric. Free Rein to Passions keeps things simple lyrically as well, and doesn’t get bogged down with overly complicated messaging. Nothing overwrought, nothing didactic. Just songs about working soul-sucking jobs, shredding on guitar, and striving to be a kinder person. “The only real central theme of the album is an acknowledgment of the crazy circumstances that we all occupy at this point in time, and being nice,” Bentham stresses. “It’s about being nice to everyone around you, and enjoying your silly little life and not getting too smashed down by prevailing negativity in the air.”

Conceived as a means to get out of a songwriting rut, When We Were Younger, is an EP centered around the concept of nostalgia. This was partly motivated by grentperez’s desire to stave off cynicism and embrace the carefree creativity of childhood. When We Were Younger fuses the signifiers of a wide variety of nostalgic sounds: his beloved bossa nova, yes, but also sprightly Philadelphia soul, the swelling strings of golden-era Hollywood, even the soundtracks and general vibe of 90s romcoms. Different musical gestures and lyrics stimulating long-dormant memories while simultaneously providing a soundtrack for new ones.

Your most excellent perversity returns to conquer the throne of its own sound universe, deepening and expanding its aesthetic range with new sounds and rhythms. Tito Ramirez's rhythmic and stylistic melting pot is broad and encompasses Latin music in its different facets, with Afro-American and Anglo-Saxon rhythms. An already legendary album before its release, which surely should not be missing in your library.

Rocksteady took Over Orange Street, Jamaica around 1966, the same time that an extreme heatwave hit the Jamaican island. Some say the previous jerky Ska Rhythms proved too strenuous of an activity to partake in, during the all night Sound System sessions .So it proved a winning formula to slow the beat down to a more leisurely pace.

Whatever the reasons were this two year period that ran until 1968, would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid, who up until this period had ruled the airwaves .It was time to make room for a new wave of up and coming producers that also had something to offer the people. Such names as Joel Gibson ( Joe Gibbs ), Sonia Pottinger, Derrick Harriott and most prolific of them all Mr Bunny Lee.

These new names would unleash some fine music in what would be a short lived chapter in the ever changing and moving beat that is reggae’s history. We have compiled some of the biggest hits from the Rocksteady period, alongside some lesser known cuts we believe deserve to be re-evaluated. Rocksteady was an inspirational and somewhat over looked sound that provided us with some outstanding music. So sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Three hip-hop titans return with the 10-year anniversary of their classic album Bad Neighbor. MED, Blu, and Madlib—each legendary in their own solo careers—reunite to deliver a timeless body of work featuring Anderson .Paak, MF DOOM, Aloe Blacc, Phonte, and other heavyweights of the culture. Across 17 tracks, Madlib’s soulful production provides the perfect backdrop for Blu and MED’s razor-sharp rhymes, giving the album undeniable replay value. The 10-Year Anniversary vinyl edition features a brand-new mix and master, two bonus tracks, and includes all original songs and skits in their original format across a 2xLP. A must-have for any serious record collection.

Keni Burke's seminal Changes yielded the eternal club classic "Risin' To The Top". You need this record for this iconic steppers anthem alone. However, it's crucial to acknowledge that the whole of Changes, first released in 1982 on RCA but now a tricky one to find, is something truly special. It's a masterpiece of sophisticated 80s groove, containing first class funky soul that sounds as fresh as ever. This is multi-tempo soul music conceived in heaven.

Ace bass player, songwriter, arranger and producer, Keni Burke was discovered by Curtis Mayfield and a childhood member of the Five Stairsteps. Emanating from that magical 81-83 era and pristinely recorded at Philadelphia's legendary Sigma Sound Studios, his third solo album Changes really perfected Keni's groove. It incorporated tight, snappy rhythm arrangements which, despite the era, featured *real drums* courtesy of Steve Ferrone (from Average White Band) to compliment Keni's meaty bass lines. With Dean "Sir" Gant on synths and keyboards and Ed Walsh handling the Vocoder-OBX and Prophet 5, wonderful lines from Earth, Wind & Fire's legendary horn section and hooky rhythm and lead guitar riffs courtesy of Ed "Tree" Walsh, Keni was truly spoiled for excellence. With Doc Gibbs on percussion and Vince Montana on vibes elevating the sensational writing and arrangements, Keni couldn't really go wrong.

“Risin’ To The Top” is undoubtedly the defining crown and lasting legacy of this album. Wth its instantly captivating bassline, slowly creepin' groove and uplifting lyrics, it was a favourite among both the 80s soul steppers and hip-hop crowd and remains canonical to this day. Written by Burke, Allan Felder, and former Chic member Norma Jean Wright, it incredibly failed to garner much American radio play or really trouble the soul charts. Whilst it was an instant classic in the U.K., in the States it took the hip-hop generation and later R&B and hip-hop samples of the tune to finally make it popular, many years later. Of note, Big Daddy Kane sampled it for "Smooth Operator", LL Cool J for "Around The Way Girl", Pete Rock & CL Smooth for "Take You There" and O.C. with "Born 2 Live".

But the highlights are not restricted to this one behemoth. For example, the track which precedes "Risin'" on Side B is another steppers favourite. "One Minute More" is a perfect mid-tempo ballad and the epitome of deep modern soul. A truly timeless work of genius. We, for one, struggle to think of a better song segue than the moment you're still reeling from the intense beauty of "One Minute More" and "Risin'" elegantly stirs into action. Frisson in excelsis. The propulsive, bass-heavy opener "Shakin" is an indisputable cracker and its followed by the timeless mid-tempo class of "Hang Tight". Just gorgeous. Next up, "Can't Get Enough" is another emotional, horn heavy chugger. The side closes with the sparse, tender, floating sl-o-o-w jam "Who Do You Love"; a truly divine ballad. The B-side beings with the title-track, "Changes", a squelchy, melodic boogie banger with fantastic keys, incredible vocals, ace shuffling percussion and spacey synths. It's followed by the ultimate one-two in "One Minute More" and "Risin'" before this sensational set closes with the glorious easy glide "All Night".

An absolutely essential record for fans of deeply soulful modern-funk, Changes was mastered for vinyl by Simon Francis and cut by Cicely Balston for Alchemy at AIR Studios. The artwork was restored at Be With HQ over many painstaking months so, hopefully, this fresh new edition ensures this long-lusted after album is no longer so awkward to find.

Renowned Italian spiritual jazz master, DJ, producer, guitarist, and bandleader Nicola Conte proudly presents his new album Umoja via London based label Far Out Recordings.

A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as connoisseuring compiler and archivist of deep jazz, latin, afrofuturist, bossa-nova and soul music from around the world. Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte’s relationship with Far Out began over a shared love of hard-edged bossa-nova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten 60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album: a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser known Brazilian gems.

The music of Umoja draws on the deep-dug 70's independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte’s collection. But he equally recognises his debt to many of the decade’s more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen.

Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, french vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem and Serbian flute sensation Milena Jancuric.

Proudly revivalist, Umoja was recorded direct to analog tape, with just two takes for each track. “Searching for an unadulterated, spontaneous, almost improvised feeling”, Nicola made sure that the few overdubs were also transferred to tape in order to retain the colour and warmth of the analog sound. “Very little post production or editing has been added, so what you hear is largely what happened in those magical live sessions”.

Bonded over the struggles of the pandemic and a mutual love for Motown, Soul and Afrobeat, Denmark"s renowned outlet for jazz, April Records proudly presents "Moko Jumbie", the debut by it"s latest outfit "A Plane To Catch". The vibrant Danish jazz scene came to a crashing halt along with the rest of the world in early 2020, and a tight-knit community of up-and-coming musicians were thrust into a void, robbed of the largest part of their livelihood and joy, live performance. Gathering in a graffiti-smudged artist"s space in an old industrial facility in Copenhagen"s outskirts, they created a space for themselves to improvise in a funky, groove-based setting. What came out was an expression of longing for all that was lost during the pandemic - a musical antidote to the loss of fun, joy, community, movement, travel and youthful abandon that the pandemic had temporarily put a halt to. Exploring the rich exchange between West African musical traditions and Western funk and soul, this is music meant for dancing, transporting the listener to dance floors both real and imagined. Featuring warm, raw production the record creates a real sense of energy and intimacy, as if the listener is in a dark club with an electric jam band. Through the eight compositions the quintet joyfully navigates familiar harmonic clichés from 70"s soul tunes, a variety of infectious toe-tapping grooves, playful improvisations and melodic duo horn arranging. Explorations of darker tonalites popularied be Ethio-Jazz legend Mulatu Astatke provide a welcome departure through harmonic contrast and propulsive polyrhythmic groove. The title "Moko Jumbie" derives from a mythical character in Afro-Caribbean folklore. During carnival season masked Moko Jumbies can be seen dancing on stilts in colorful garments, towering over the crowds. Part gods, part healers, part ghosts, and most importantly: moving expressions of freedom and the perfect mascot for this celebratory album.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

Dark, evocative beats engulfed by bold raw vocals: this is
TOTEK, the genre-defying electronic project of Allysha Joy and
Max Dowling.
In their own right, Allysha and Max both lay claim to an
extensive musical prowess: the former as a member of the
internationally-acclaimed nu-soul outfit 30/70 and her equally
revered solo project, the latter as a prolific producer, performer
and collaborator (Client Liaison, NO ZU, Parvyn and countless
others).
Born out of burn out and edging frustration for the pace and
complication of life at times, this collaboration came together
almost immediately. TOTEK found itself in the dark edges,
wanting to punch a little harder and move through it all quickly,
boldly, unafraid in relief. The chemistry held between Max and
Allysha found songs written in mere moments that expressed
something new that neither artist had been able to access
alone.
On face value, the six tracks on ttk.1 could feel musically
divergent: representing different idioms, different tempos and
different themes. Yet they are unified on a more holistic level
through their energy, ethos and character. TOTEK prefers to
view music in this way: what is the overall experience of a
record? Pushing boundaries and eschewing conventions has
been organically at the heart of TOTEK from the beginning. The
process of crafting a record was no different: The artists
intended to create a work that is characterful and unpredictable
yet unified by a throughline of potency and intensity.
TOTEK represents a masterful coming-together of influences: a
blend of multiple electronic idioms with a unique soul sensibility;
channelled through two creatively potent individuals. While their
music conjures shades of Dorian Concept, Jana Rush and
Flying Lotus, ultimately their sound is eclectic, elusive and
unique.

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One half of iconic British duo Basement Jaxx Felix Buxton and vocalist Gia make their Defected debut with the soul-stirring 'So Hooked On Your Lovin', alongside two groove-loaded remixes by Mousse T.. The first ever release under their Selace pseudonym, the record comes laden with lingering organ chords and stunningly raw vocals, echoing the stripped back quality of Switch's 'I Still Love You' and with a similar deep-reaching feel to Massive Attack's early 90s classic 'Unfinished Sympathy'. Production maestro Mousse T. works his magic with his funk-drenched Disco Shizzle mix loaded with a pumping bassline and guitar riffs alongside a deeper Dubby Shizzle version laced with a spoken word hook. Less is more with Selace; this is a minimalist yet undeniably stunning record that lets its captivating song do all the work.

This excellent 1965 album from the always versatile Yusef Lateef runs the gamut musically, from the Coltrane influenced “Semi-Octo” to soulful reads of standards from Hammerstein/Kern, Fats Waller and Erik Satie, and a beautifully rendered original ‘Bamboo Flute Blues’.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

This beloved record of the 2010s soul revival era (which Pitchfork gave a 7.8!) is back in stock and on colour vinyl - for the very first time! in All The Hits All The Time Gold.

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and, on Live, are paired with excellent John Coltrane, Miles Davis and Freddie Hubbard covers. They are some of the most sought after albums of Americas 70s jazz underground. Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now. With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

Black Rhythm Revolution! Is the first solo album from the jazz-funk legend Idris Muhammad, a New Orleans-bred rhythm king who successfully made the leap from the finest soulful jazz records of the ’60s to the nastiest fusion funk of the ’70s. Here we catch him literally on the cusp of the two in 1970, with one good foot in the get-down of “Express Yourself” and “Super Bad,” and the other in his own heady excursions into modal rhythm and melody, accompanied by virtuosos Kenny Barron, Ron Carter, Melvin Sparks, who came together for sessions overseen by legendary producer Rudy Van Gelder. This 180-gram reissue of Black Rhythm Revolution! was cut from the original analog tapes by Kevin Gray and pressed at RTI, and comes packaged in a tip-on jacket.

The very definition of ‘70s soulful jazz, Where I’m Coming From has all the hallmarks of Prestige Records at its finest, with an all-star cast of sidemen (The legendary Idris Muhammad! Hello to Madlib’s uncle, Jon Faddis! Greetings to the funky flute of Hubert Laws!) recorded at Van Gelder’s studio and packed with down and dirty grooves top to bottom. From the opening cover of Stevie Wonder’s “Superstition” through to the low-slung original headnodder “Where I’m Coming From,” with stops along the way for dips into the catalogs of Curtis Mayfield (“Give Me Your Love”), Marvin Gaye (“Trouble Man”) and the Four Tops (“Keeper Of The Castle”), Leon Spencer’s rippling organ lines sear this prime example of groove jazz. This 180-gram reissue of Where I’m Coming From! was cut from the original analog tapes by Kevin Gray and pressed at RTI, and comes packaged in a tip-on jacket.

The best of the first period of the Queen of Soul… Madame Aretha Franklin! From Over the Rainbow to Try a Little Tenderness… Discover all the quintessence of her highness ARETHA FRANKLIN. These 16 tracks show us how great the Diva’s influence on contemporary music was, paving the way for other great female performers.

For Fans Of… Charles Bradley, Sharon Jones & The Dap-Kings, Lee Fields. Debut album from Bobby Harden & The Soulful Saints. Produced by Dala Records Founder Billy Aukstik. Featuring members of Charles Bradley, Dap-Kings, Antibalas. Recorded to 1” analog tape at Hive Mind Recording Studios. Bobby Harden & The Soulful Saints are proud to announce their debut album, “Bridge of Love.” The album’s ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B (‘Played a Fool by You’) to throw-back psychedelia (‘One Tribe’), svelte seventies pop (‘One Night of the Week’) and some seriously sophisticated ballads (‘Wounded Hearts’, ‘Bridge of Love’). Together they document Bobby’s life journey in song. Through youthful self-doubt in the opening track ‘It’s My Time’, to confirmation on the exuberant finale ‘Raise Your Mind’, Bobby proves that faith and hard work can pay dividends. “Life is a joy when you free your soul.” Throughout the album, Harden’s voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.

As the first 45 off of the acclaimed concept album "Sage Motel," "Love You Better / The Shape Of My Teardrops" gives you a look into that mysterious, soulful, and cinematic world. Featuring a brand new 45-cut of 'Love You Better,' this 45 invites you to sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

The six letters of Def Jam, like the three of RAL (for Rush Associated Labels), Russell Simmons and Rick Rubin imprinted them indelibly into hip hop mythology. The epicenter is New York, in order to make sure to have in its ranks the best representatives of Boom Bap, Hardcore Funk, Go-Go or Electro. Beastie Boys, EPMD, Onyx, Redman, Method Man, LL Cool J, Junkyard Band, South Central Cartel, 3rd Bass; the list of MC's who left a mark stamped with the Def Jam or RAL logo is a freestyle where catching your breath is difficult. In order to study more closely the footprints left by these behemoths, Uncle O, the man behind the 5 volumes of Shaolin Soul compilations, explored the label's 1985-1995 period. From another age, tucked away behind a photograph of Glen E. Friedman, the man who created the visual history of Def Jam and RAL through iconic covers, they are the work of rap's T-Rex. Dinosaur Beats. Reviews R2, Mojo Blues and Soul, Guardian, Record Collector Ads R2, Mojo.

Ruth Koleva hails from Sofia, Bulgaria, and has been a TV star and singing out concert halls for years. She has also long been singing on some superb broken beat and nu-jazz records while working with top-level production talent and having her tunes remixed by Zed Bias, Kaidi Tatham, Mark de Clive-Lowe and Eric Lau.

The neo-soul star's Ruth album gets a special anniversary edition release here with four heart-melting and textbook neo-soul tunes on the A-side then some super remixes on the flip. This is timeless stuff that works on the heart and the heel in equal measure.

In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving. The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track. With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms. It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem. In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance. Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.

Yse Saint Laur'ant makes wonky, left-of-centre sounds for proper underground parties. He's done so for years, and now returns with more of his raw and inventive disco on the sought-after Vinyl Only label. Opener 'Bad Company' pairs visceral arps with glossy pads and soulful vocal, which is stripped away from the 'Better Company' version.

On the flipside, 'Don't Look Back' is a more freewheeling and funky feel, with silky basslines and hip swing claps under buttery vocals. Last of all is a classic chug-disco gem. 'Foreign Love' goes slow, with crashing hits and languid bass all topped off by a yearning female vocal that slowly but surely rises into euphoria.

Derrick Jamerson was the son of Motown bassist James Jamerson Jr. and grandson of Motown Funk Brother's house band bassist James Jamerson. He himself made a select few house records back in the mid-nineties which have been unearthed by some contemporary deep diggers.

A couple of his tunes now get reissued on this The Legacy Continues EP on Endangered Musique. 'So Hard' is traditional US house with organ chords, chattery claps and well-placed vocal samples, then 'Hot House' gets a bit more loose and soulful. On the flip are three different versions of Derrick's biggest tune, 'Adventures Of A Disco Diva', all of which bring some form of piano house magic.