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• From the mid-‘50s through to the early ‘70s, Jackie Wilson was a consistent hit-maker and master showman, known as one of the most dynamic singers in American R&B. Jackie Wilson has a dazzling record of 54 US Hot 100 and 49 R&B singles chart entries
• ‘Nobody But You’ is the final studio album by the soul great and is the first vinyl reissue of the 1976 album
• Highlights include ‘Don’t Burn No Bridges’
• Pressed on 140g black vinyl with original artwork and printed inner sleeve

• Clydie King established her reputation as a session singer for the Rolling Stones, Dylan, Ray Charles and Humble Pie. A respected soul singer with gospel roots and an edge of rock
• Originally released in 1973, this album is reissued on vinyl for the first time
• Highlights include ‘Don’t Hold Back’ and ‘Loneliness’
• Pressed on 140g black vinyl with original artwork and printed inner sleeve

On July 4th Kase Avila is set to raise the bar even higher with his latest effort ‘Minerva’ via Low Key Source. The Filipino-Australian producer is set to delve deeper into his artistry and penchant for the experimental with 14 new tracks.

When Covid-19 turned the world upside down, Kase sent himself into self-isolation. Confined to the studio, the Sydney beatmaker faced this tumultuous time with his love for producing music. Kase explored his love of 90’s boom bap, neo-soul, and the Soulquarians, while playing with the crisp sounds of electronic music to strengthen his perseverance and resolve. Taking its name from the Roman goddess of music, poetry, medicine and wisdom, ‘Minerva’ is a celebration of the resilience found in creativity when faced with uncertainty. The record envisions a sonic landscape that is as intimate as it is expansive. Lush chords pervade Kase’s signature hard hitting drum lines and smooth melodies like an evergreen being traced with graceful footsteps. The result is a sound that is regal in its confidence and joyous in it’s expressiveness. The lead single ‘Magic Birds’ strikes a harmonious balance between the sample-driven beats that have made Kase a fan favourite amongst the lo-fi hip-hop community, and ethereal synth flourishes that give the track a seamless fluidity.

Kase has long been a cornerstone of the Sydney music scene; his brand of ebullient and soulful beats have been filling dancefloors and bedrooms of hip-hop heads for the better part of a decade. In 2019 he released his first ever LP ‘Soul Calibre’, a project that also marked his debut on renowned label Low Key Source. ‘Minerva’ signifies Kase’s continuing ambition to preserve the purism of hip-hop while simultaneously pushing its boundaries with one kick, snare, and key at a time.

Planetself return with ‘The Chosen’, an exciting new collaboration with LA-based producer extraordinaire Daniel Crawford (known for his creative mixtapes and live work with artists such as Raphael Saadiq and Mary J Blige). The track also features the vocal talents of legendary US underground wordsmith Blurum13.

Planetself producer Inkswel became aware of Daniel Crawford’s work through his latest album ‘Revolution’ on Wicked Wax and his well-renowned ‘Flip Wilson’ mixtape series. He then asked Crawford to remix a track from the Planetself back catalogue, but this turned into a complete flip and rework manifested as a new song we are now proud to unleash on the world.

‘The Chosen’ is all about the newest generation of kids coming up who have been chosen by the universe to be a part of this crazy time on our planet. Our people’s evolution to bring about change and revolution in a time that we need it like we’ve never needed it before! They hold within them the love and light and strength needed to turn this world around. It’s up to all of us. If you are here now this includes you. We are all The Chosen.”

Sit back and absorb the soul-drenched, feel good vibes of ‘The Chosen’. Let the sound move you to make a positive change in the world today.

EDSEVEN
Sydney DJ/Producer Edseven has built a rock solid reputation over the last 15 years, sharing the stage DJing with the likes of Gilles Peterson, Peanut Butter Wolf, Norman Jay, IG Culture and many more across Australia, Berlin, Detroit and Amsterdam.

Always eclectic, his selections joining the dots between styles and eras with skill and respect – never losing focus on the dancers.

His latest release ‘Freaky (Meet me halfway)’ is no different. A djembe led future soul burner blessed by the legendary London vocalist Colonel Red’s scorching voice with Canadian duo Potatohead People flipping it into a dripping 80’s Boogie track.

Out on Friday 4 October, independent label Low Key Source is proud to be releasing Raiza Biza’s forthcoming album Bygones.

A hypnotic culmination of hundreds of hard drive demos, eclectic musical inspiration and collaboration, enter Bygones - a record striking the balance between the intricacies of electronic production and at times, melodic half-sung poetry, delivered with raw intensity.

The nine track record features cameo appearances from Sudanese-American rapper/producer extraordinaire Oddisee, Australia’s REMI and B Wise along with AmmoNation collaborators Blaze the Emperor, Embher, VULC, and more.

Speaking with a sense of urgency in his flowing baritone voice, Biza’s work has always carried a socially conscious heart, backed up by honest storytelling and captivating jazz/soul infused
production as the aura to his words. His new material follows a new sound arch, and with those changes comes a newly found freedom.

On Bygones, Biza found inspiration in the deeply written metaphors of the Marvin Gaye-era soul and the heart-hitting rhythms of 1970’s funk groups like Gapp Band. Binding his grounding in socially conscious thought and observational storytelling, he studies the human condition and the world around us - from his own experience.
Though this time, he admits, the record finds the balance between fun and seriousness. Rather than be ruled by the lyrics, the music plays an emotive part.

“I wanted to create space for emotional interpretation of the audience,” he reflects. “I’ve tried to find a balance between the things I’ve released in the past and the further left-sitting things on my hard drive.”

The newest generation of hip-hop has forced him to just do; and overthink less. “Being able to take that fun within the music and combine it with raw melody, you hopefully connect with people.”

He tells the angles of the human condition through high octane moments, the party life, through to the low, self-reflective moments found in tracks like ‘Stolen Youth’ and ‘Trouble’ where he teams up with Oddisee and Zenyth. Both tracks have gone onto become student radio network hits, sitting in the top 10 of the Radioscope Alternative Airplay chart in New Zealand for consecutive weeks.

A humble titan within the antipodean isles and Aotearoa’s underground scene, Biza has firmly planted roots, supporting the up-and-coming generation of local MCs and hip-hop producers. As the hearty driving force behind AmmoNation, Biza believes in the power of community and the sharing of knowledge. A voice from within the African-New Zealand diaspora, Biza has strived to bridge the gaps of understanding and preservation of his experience in New Zealand, while also supporting his fellow artists on the same mission.

“We, the African diaspora, we are no longer toddlers in the places we immigrated to. We have an identity and a growing presence.”

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei
Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Arrivals features O’Rourke’s first new material in two years and brings us the most emo-tionally raw and affecting album of his career. Produced by Paul Weller at Black Barn Studios, Surrey, the sound is stripped back to Declan’s soulful and resonant voice, the virtuosic acoustic guitar playing for which he’s renowned and only the occasional sparse arrangement of strings and late-night drums bringing colour and light to the LP’s 10 songs. Weller, a fan of Declan’s song writing for some years, also adds his multi-instrumental abilities, including a beautiful piano accompaniment, to the closing track.

Split in two volumes, here is the sum of James Brown's early five year period 1956 - 1960, when JB (and his Famous Flames) was obsessively searching for his own sound. Selected from a bunch of 19 two-sided singles, and including super hits such as "Please, Please, Please", "Try Me" and "I'll go crazy", this collection represents James Brown's fundamental groundwork for the coming Soul Music revolution.

A great collection of Wonder's early 60s work. When as a Tamla's young prodigy named Little Stevie, still under the influence of Ray Charles, he began hitting the charts, proving his genius with songs like "Contract on Love", "Fingertips - Pt 2" and "Work Out Stevie, Work Out"

Here's another piece of music history. The Temptations, one of the greatest and influential vocal groups in the history of "Soul" are well represented here through a selection of their early singles. The group's immaculate vocal harmonies stand as a unique sound monument in American music culture and this disc shows us the origins of such a myth.

The first album released by the most sought-after label, bar none, among jazz collectors! And since keyboardist Gene Russell was at the artistic helm of Black
Jazz, it was only natural that the label’s debut record featured Russell himself,
with the fitting title New Direction. Oft-bootlegged, with original copies commanding princely sums, New Direction, while a fairly straight-ahead piano trio outing, sets the tone for the entire label with its modal and soul jazz flourishes, and features
such sidemen as double bassist Henry “The Skipper” Franklin and drummer Steve Clover.

Tony Joe White scored big with 1969’s “Polk Salad Annie” from the album Black & White MOVLP989 and he was having success as a songwriter too: “Rainy Night In Georgia” was a huge hit for Brook Benton in 1970.

His self-titled third album (1971) finds the “Swamp Fox” tempering his bluesy rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The addition of the Memphis Horns and other Muscle Shoals session men really worked well for the album. Many of the songs will remind the listener just how turbulent the cultural climate of the late 60’s and early 70’s was in the U.S. Songs like “The Change”, “Black Panther Swamps” and “I Just Walked Away” (the album’s first single) are testament to the era.

Perth’s DJ/producer Charlie Bucket drops his second EP "One Life". It is a melting pot of sounds and Influences featuring guest appearances from all over the globe such as SLIMKID3 (The Pharcyde), Detroit natives Guilty Simpson and Boog Brown, UK Hip Hop artist TY, Raashan Ahmad (Crown City Rockers), Ghanian MC Blitz The Ambassador and Australia’s own NFA Jones.

Fusing together the sounds of Afrobeat, Samba, Jazz, Soul and Funk music "One Life" presents a more organic approach to Hip Hop.

An array of lauded artists has collaborated across Coin Banks new Outside Looking In EP, from the WAAPA Gospel Choir on ‘Forgive Us’ and Brisbane based Ezra James providing vocals for ‘Pull Up’ and ‘Problems’ rounding out the songs with a smooth, R&B sound, to three-time World DMC Champion 20Syl who produced the latter. Atom lends his touch to ‘BreakBanks’, throwing it back to the late 80’s/early 90’s break-dance and Hip Hop scene, while James Chatburn’s silky, soulful chorus amplifies the tenderness on ‘Stay In Bed’, which along with the ‘Handlebars’ was produced by Cam O’bi who has collaborated with Chance The Rapper and Kendrick Lamar.
The vinyl version of the EP includes 2 bonus tracks ‘Be Real’ and ‘H.E.R.’ both featuring Atom and Danny Martin which were produced by Nottz and 20Syl respectively.
COIN BANKS
Perth rapper Coin Banks has quickly established his position as one of Australia’s most exciting voices in Hip Hop, since the release of his singles ‘Think of You’ and ‘Hatches’ in 2014, fusing classic and contemporary styling in his inventive storytelling.

His unparalleled run has charted local and international tours including supporting the likes of Cypress Hill, Macklemore & Ryan Lewis, Action Bronson and Illy, saw him round out 2015 as the Most Played Artist on triple j Unearthed and nominated as their Artist of the Year, plus a string of accolades including WAM Urban Artist of the Year in 2015 and WAM Song of the Year in 2015 and 2016.

Australian award winning producer Plutonic Lab returns with a sophisticated, genre defying Double A Side Single ‘Blind Eyes’ and ‘Give It Up.’

Pluto brings together a strong list of talented artists: The soulful, smoky voice of Natalie Slade, New Zealand based Rwandan rapper Raiza Biza, and multi instrumentalist 8H.

The two tracks mark an intoxicating return for the producer, showcasing how he is able to bring together artists’ of diverse backgrounds and styles to display skills, restraint and synergy in a moment in time.

Plutonic Lab says, “I feel the sound of these two pieces have a great balance between electronic textures, acoustic instrumentation, jazz, tough beats and clout.”

The two songs are an example of Plutonic Lab’s collaborative, versatile nature and his ability to cross genres without limitations.



Plutonic Lab
Plutonic Lab has provided the backdrop for countless artists over a mammoth career spanning over two decades, collaborating with artists locally and internationally including Black Milk, Drapht, Hilltop Hoods, G-Love (US), Lanks, Guilty Simpson (US) and Wiley (UK).

Plutonic Lab’s 2016 LP “Deep Above The Noise” attained feature album status on Double J and Won “Best Hip-Hop Album’ at the AGE Music Victoria Awards 2016. Notably he produced Dialectrix’s 2013 album, “The Cold Light of Day” which was shortlisted for the Australian Music Prize, won the 2009 UK Mercury Prize for his work with Speech Debelle, and was nominated for ‘Best Urban Release’ at the 2008 ARIA Awards as half of the hip-hop duo Muph & Plutonic, who also placed 2 songs in the Triple J’s “Hottest 100.”

Pluto has toured across extensively across Australia, internationally and as tour drummer for Hilltop Hoods in the U.S, Canada, UK & Europe.

Following on from the success of ‘​For the Rest of My Days​’ (Obese records, Fat
Beats NYC, 2011) , ‘​Outer Circle Movements​’ (Obese Records , Soulspazm , 2013)
and more recently Pegz & Silent Titan - ‘​Equilibrium​’ ( HydroFunk records), The Silent
Titan returns in 2019 with his forthcoming solo EP, ‘​Quiet Elevation​’.
Titan, who has been making a name for himself as a producer in Australia for the past
15 years, is eager to see how worldwide Hip Hop fans will take to his sound.
“I always want to make records that can’t be pin-pointed or linked directly to one corner
of the globe”, he says. His production style sees him carrying on the legacy of iconic
sample-based producers such as Pete Rock and Madlib, building on the tradition that
the greats have established before him.
He comments, “As a producer who has great honor and devotion for Hip Hop culture,
I'm here to express to the world through my music what these pioneers have taught me
through their production, build on that style and bring something new and fresh to the
table.”
‘​Quiet Elevation​’ includes collaborations with ​MED​, ​Blu​, ​Kota the Friend​, ​Raff Alpha
and ​Ozay Moore​, alongside the Australian-based talents of ​Minx​,​ Luke Dubber
(​Hermitude​) and world class saxophonist ​E.Baker​.
The drums hit hard, the sample chops are tight and the synths are heavy.
‘​Quiet Elevation​’ is less reserved than his previous releases and sees The Silent Titan
really coming out of his shell and exploring new sonic landscapes and arriving at a
point where hip hop heads from around the globe will be forced to stop and take
notice.

Les Disques du Crepuscule presents Subway, a collection of singles by cult NYC duo Thick Pigeon, originally released on Crepuscule, Factory and Factory Benelux between 1981 and 1991.
Comprised of vocalist Stanton Miranda and instrumentalist Carter Burwell, Thick Pigeon emerged from the downtown New York artrock scene which also spawned Glenn Branca, Bush Tetras, DNA, Arthur Russell and Sonic Youth. Like their chosen name, the duo were typically atypical: Miranda was previously a dancer with the Marthe Graham ballet company, and Carter a film animator and Harvard fine arts/architecture graduate. Very much a studio project, the ‘group’ hardly ever performed live.
Poised and subtle debut single Subway appeared on Crepuscule in January 1981, a connection forged by Miranda’s partner Michael Shamberg. Dog followed a year later, along with wry Christmas single Jingle Bell Rock, before the duo switched to Factory Records, recording debut album Too Crazy Cowboys in Manchester with Stephen Morris and Gillian Gilbert of New Order producing. Released simultaneously on Factory and Factory US in 1984, the album was billed as “a walk through the civilisation of you soul”.
Having now embarked on a career scoring movies (becoming the Coen brothers’ composer of choice), Carter was absent from the next TP project, 1986 dance single Wheels Over Indian Trails, although Morris and Gilbert remained on board as guest musicians. However Miranda and Carter would reunite for a second (and final) leftfield pop album, Miranda Dali, issued by Crepuscule in 1991.
As well as singles Subway, Dog, Jingle Bell Rock, Jess + Bart and Wheels Over Indian Trails, TWI 351 also includes b-sides (Sudan, Tracy + Pansy), album highlights (Crime, Riding) and a second festive track, Blue Christmas, previously issued only on cassette as part of a Factory Christmas card in 1986.
Alongside Stephen Morris and Gillian Gilbert, the stellar cast of guests include Fred Szymanski (of Ike Yard), Ikue Mori (DNA), remixer John Robie, and even artist and event designer Jean-Paul Goude on backing vocals.
Limited to just 500 copies, Subway (Singles) is newly remastered and pressed on transparent violet vinyl, reflecting the original 1981 sleeve artwork by legendary Crepuscule designer Benoit Hennebert. The album includes a free digital copy (MP3).

Seatbelts fastened, Delorean fired up, it’s round two of Loveface’s De Mix series of releases. Providing you with three shimmering, ‘80s electro boogie workouts, guaranteed to seduce any tentative souls or shy shufflers to the dancefloor.

Hell Yeah welcomes the Italian musical collective Aura Safari for a debut EP on the label.

The band, who are at the forefront of a new Italian fusion sound that blends jazz-funk, electronic and world sounds, is made up of acclaimed house devotee Nicholas Iammatteo, plus Alessandro Deledda, Lorenzo Lavoratori, Daniele Melloni and Andrea Moretti. They contributed a standout track to the Buena Onda - Balearic Beats compilation last year as well as releasing a full length LP on UK label Church to critical acclaim.

Opener 'Dreams of Music' is a lush, new age groove with rich musicality, wind instruments and live drums all glowing warmly as you roll into sundown. 'Oasis' then sinks into a reflective mood, with lazy drums and sensuous late night chords sounding like Roy Ayers all loved up and super stoned. The noodling keys really melt your heart before the excellent 'Slow Divers' pairs more majestic bass riffs with wet claps and splashing cymbals as a wandering lead drifts up to the heavens. It has a dubby swagger to it that is superbly subtle.

Closing out the EP 'Libra', is a heartwarming, slow motion, jazz-funk fusion packed with detail and life affirming synth playing.

These are gloriously heartfelt tracks that showcase this collective's supreme musical ability as well as their unquestionable understanding of jazz, funk and soul, past, present and future.

12" Vinyl with Download Code. Expanding their rich sound palette Forbidden Dance moves on to the next plateau with their third release. After releasing two legends Alton Miller and Vick Lavender, new EP is signed by a young and sound broad producer from Naples - The Mechanical Man. Drawing influences from the sound of Chicago, Philadelphia and Motor City he achieved to catch the multi essence of the house sound into a four-track journey marked with slow and fast-paced soulful corners dominated by toned vocals and stripped-down beats all the way to the underexposed lounge sections and playful intermissions.
Drum programming is a strong point for The Mechanical Man and it can be clearly heard in "A1 - The Streets Of Revelation". Infused with most probably vintage Linn Drum hits, the track intertwines numerous elements in a hoppy and gentle swirl riding on double vocals. Everything takes a full sonic conclusion in the third quarter when the main synth starts to breathe fully.
Residing on almost the same rhythm hits, "A2 - I Keep Thinking" is more of a deep dive into love dreams. Emotional and subtle pads and chords progression are really felt here as the track rubs under soft vocals in need of a response.
The light essence is captured on "B1 - What Your Eyes Don't See". While the delayed vocals are cutting the motion and the rhythm is rougher, it still manages to keep the terrace vibe movement. Rhode-like section carries the track all the way with occasionally reduced percussion hits spicing up the background.
On the other note, "B2 - Take Her In Your Arms" is a gentle dance of maracas and rhodes. The acoustic bass is quite seductive and inviting whilst flutes and other elements riddle the track with a toned-down lounge feel and sway into hypnotic slow-motion.
Diverse, rich and enchanting tunes by The Mechanical Man!

First volume in this up & coming series showcasing the talent Latin funk pioneers and soul poets. A precious dj tool and a spectacular selection all in all. Can you dig it ?

Inkswel is firing into 2020 with his debut release The People EP on Boogie Angst.

Having previously released on such top notch labels as BBE, Rush Hour, Sonar Kollektiv and Yoruba Soul (as one half of Planetself), quality is assured from the producer with two original tracks and high quality remixes.

Too Late featuring Atlanta rapper and broken beat master Daz-I-Kue collaborator Stan Smith is built around an 80's synth line and electro percussion throwing things back to the early days of hip hop and breakdancing.

Having previously worked with vocalists such as Georgia Ann Muldrow, Amp Fiddler and Steve Spacek – Inkswel first delivers The People - a perfectly crafted lo-fi club rocker with San Fran luminary Dave Aju on vocals.

Boogie Angst is run by Dutch electronic dons Kraak & Smaak and as well as their own output is also home to the likes of Moods, Secret Rendezvous, Vhyce and Saux.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Repress

The Vanguard Project is the brainchild of Steve BCee & Andrew 'Villem' Wilson. Both already being established producers this new project sees them truly going from strength to strength with every release. For the Daredevil EP they deliver four soul-soaked slices of deep spaced drum & bass with rolling drums. To keep things short and simple, this is dope.

Die GRAMMY-nominierte Band CHA WA veröffentlicht mit ,My People" eine neue Song-Kollektion, die aus der reichen und lebendigen Straßenkultur von New Orleans schöpft. ,My People" vereint zeitgenössische Klänge mit der Musik von Straßenparaden und der Mardi Gras Indianer-Gemeinschaft - einer Gruppe schwarzer New Orleaner, die mit ihrer Kleidung, ihrer Musik und ihrem Dialekt den indianischen Stämmen Respekt zollen. Vollgepackt mit einer lebendigen Ansammlung von New Orleans-Klängen und -Geschichten, schöpft diese Sammlung neuer Originalsongs aus den Grooves von New Orleans-Funkbands der 70er Jahre wie The Meters (besonders bei Stücken wie ,Wildman" und ,Bow Down") und nimmt deutliche Einflüsse aus der Geschichte der Stadt mit Brass-Band-Musik, Jazz, R&B, Hip-Hop, Rock, Soul und afrikanisch inspirierten Arrangements (einschließlich einer relaxten Coverversion von Bob Dylans ,Masters Of War" in diesem Stil). Cha Wa wurde von Bandleader Joe Gelini kurz vor der Veröffentlichung des 2018 erschienenen Debütalbums ,Spyboy" gegründet, das 2020 bei den GRAMMYs mit einer Nominierung für das beste regionale Roots-Album ausgezeichnet wurde. ENG The next generation of New Orleans music shares a bold vision for the future with a reverence for the past. It builds upon tradition to bring something unique to the world. The future of New Orleans music is Cha Wa, a Mardi Gras Indian funk band that takes the music of the streets into the 21st century, with guests like Alvin Youngblood Hart and Anjelika Jelly Joseph. On "My People", the band tries to "take the influence of Monk and Bo and Willie Tee [from the original Wild Magnolias] back in the day, when they were interpreting the music of their time - the deep funk, disco, Afrobeat and tinges of reggae," says drummer & bandleader Joe Gelini. "And we're also trying to interpret and write new music that we're inspired to play that's relevant to our generation, and our current social environment." "My People" feels like pure joy, a distillation of generations of New Orleans expression, but it also never fails to remind us how hard-won that joy was and still is: not least in the tense, funky and explosive title track, with its declaration "My people, we're still here." "Mardi Gras Indian songs are inherently songs about freedom," Gelini says. "And that struggle is as relevant today as it's ever been."

Objets Trouvés
1 – ein Alltagsgegenstand, der zum Kunstwerk gemacht wird, indem der Künstler ihn findet, seiner bisherigen Funktion entledigt und ihn als Kunstwerk behandelt.
2 – ein Album von Twit One mit 16 Songs, inspiriert von verschiedenen Situationen und Sounds. Die Gästeliste wird geschmückt von Reginald Omas Mamode IV aus London, Kurt Wagner (Lambchop) aus Nashville und den Kölner Artists Keshavara und Imam Ally Salaam. “Objets Trouvés” ist Twit Ones drittes Soloalbum bei Melting Pot Music. Wenn wir seine Projekte mit Hulk Hodn (als Testiculo Y Uno), den Summers Sons (als Syrup), Lazy Jones (als Flatpocket), Count Bass D und Fleur Earth dazuzählen, dann blicken wir auf 10+ LPs zurück (LP steht für Longplayer; die Betonung ist uns wichtig, da wir jedes Twit One Album auf Vinyl releasen). 2009 startete Twit One das Beat-Game in Deutschland zusammen mit seinem Weggefährte Hulk Hodn. Twit One war Lo-Fi lange bevor Instrumental-Hip-Hop zu Coffeshop-Musik wurde (Wun Two und FloFilz können das bestätigen), obwohl er seinen Sound niemals mit einem solchen Begriff beschreiben würde. Heute spielt Twit One in seiner eigenen Liga und hat einen Ausdruck eigens für sein Genre geprägt: Cool Bap. Er ist ein Beats schaffender Tausendsassa, der Musik, Artworks und Videos kreiert. Er ist Musikkurator, DJ, Radiohost und betreibt einen Plattenladen (Groove Attack Recordstore in Köln). Auf der Suche nach „Beats to chill or study to“ wird man bei „Objets Trouvés“ nicht fündig. Bei einer Vorliebe für Musik, die ausdrucksvoll und vielseitig ist, eine Botschaft transportieren kann und ihre Wurzeln kennt, sollte „Objets Trouvés“ zum Standardrepertoire werden. Unterstützt von einem Team aus grandiosen Gästen – von Londoner MC/Sänger Reginald Omas Momade IV bis zu Kurt Wagner von den US-Alternativ-Rock-Ikonen Lambchomp – vereint Twit One Hip-Hop, Soul, Jazz und Funk wie nur er es kann. Untangiert von Trends und Moden ist sein Sound charakterisiert von Humor und kompromissloser Eigensinnigkeit, besonders empfehlenswert für Fans von Sun Ra, Dilla oder Moodymann (um nur ein paar der GOATS zu nennen).

Back in stock! REPRESS WITHOUT bonus 7"/ prod.by J Dilla / mixed by DJ Pete Rock / feat. Black Thought (The Roots), DOOM, M.O.P. and others / 25 track collection of unreleased Dilla beats and productions mixed and arranged by Soul Brother #1, DJ Pete Rock!

Despite the fact that we are all still hanging in there, 2021 kicks in heavy in style for CHILDHOOD with a killer 4-tracker 12" release by DON WILLIAMS. Thomas and I met a while ago on a dancefloor, however our friendship sealed for good when we met online playing endless Splatoon sessions on Nintendo Switch. Our common interest in a broad range of things and music in particular led to a deep exchange of ideas when it comes to the love for the vinyl product. Having started the label last year with DJ DEEPs VAINCRE EP, I can surely state that Thomas was kind of a mentor and of countless help when it comes to setting things up. I therefore couldn't be happier and more thankful to welcome him to the CHILDHOOD family with BLITHE SPIRIT, a true masterclass EP ranging from experimental and complex rhythms, over driving dancefloor madness to soulful early morning ecstasy cuts. The first 100 copies come in marbled red vinyl. Be sure to grab a copy and while listening to it at home, having in mind that these grooves will tear dancefloors apart in a not so distant future. WE SHALL DANCE TOGETHER! - David Muallem

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him - including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006. A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early '70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

Classiou, jazzy groove Hip Hop. Soulfool ... oup Full. And so funky !! Yes !

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

This highly collectible LP from 1974 is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique sound and joyful vibe. Includes the anthems 'Mi Nuevo Ritmo' and 'Alma y Sentimiento/ Soul and Feeling' recorded at different sessions in Colombia and Peru. Presented in its original artwork and pressed on 180g vinyl. The highly collectible LP Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track 'La Música Brava' proclaims, "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song 'Mambo Rock' (with 'Estricto Guaguancó' on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue.

It is our distinct pleasure to present Penrose, a new imprint poised to usher in a whole new era of soulful sounds.

Founded by Daptone Records' own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today.

For its inaugural release, the label offers up five singles by five exciting new artists: Thee Sacred Souls from San Diego; Jason Joshua from Miami; East L.A. mainstays Thee Sinseers, and The Altons; and Altadena veterans, Los Yesterdays.

Dojo Cuts were one of the first groups to release a 45 on Colemine Records back in 2009 and eleven years later, they represent the 89th 45 in the label's history. As perhaps the most soulful outfit to come out of Australia the last few decades Dojo Cuts with the help of leader singer Roxie Ray and producer Nathan Aust are back to cranking out new tunes like they haven't since 2012. "Rome" and "Falling In Love Again" are from the most recent LP Tomorrow's Gonna Come.

El Michels Affair is back with another two-sider picture sleeve 7". The A side, Murkit Gem, taken from the upcoming album, Yeti Season, is another pairing of El Michels Affair's unpredictable brand of soul and the lilting vocals of Piya Malik. From the crack of the first snare this one sinks its teeth in you. The backing music simultaneously has the swag of the darker side of Wu Tang as well as the light hearted bounce of a cartoon theme song. Piya Malik's vocals dance all over the tune, cementing Murkit Gem as an unlikely but undeniable "get to the dancefloor now" record. The B side Cham Cham is a non album cut exclusive to this 45. Again EMA invites Piya Malik to the microphone and she shares her styled storytelling vocals. It is the vocal version of Perfect Harmony, which appears on Yeti season sans vocals Picture sleeve art by the legendary Ghanaian artist, Mr Brew. Courtesy of Deadly Prey Gallery, Chicago, IL.

Bad Colours is the moniker of London-born, Maryland-raised, Brooklyn-based DJ and producer Ibe Soliman. With influences of garage from both sides of the Atlantic as well as funk, post-disco, proto-house and rap samples; his debut album 'PINK' is set for release by Bastard Jazz on 26th February 2021.

The drive to record an album came about while isolating at home in Flatbush during the COVID-19 pandemic. Inspired by some rough ideas and samples that friends sent him, Ibe focussed his attention on making music. From time well spent soaking up and storing sounds from clubs around the world, Ibe found, now with the time to dedicate towards it, the tracks flooding out. Taking cues from early Trax records and Larry Heard, the UKG musicality of MJ Cole, Todd Edwards' vocal sampling techniques, the brashness of Bmore, and an encyclopedia of disco, funk and soul knowledge; Ibe got to work and quickly compiled more than enough tracks for a full-length release.

Flowing from the album intro 'PINK!', first single 'Cookin' vibes over a Chris Faust sample and saxophone from south California virtuoso Carras Paton. 'Feelin' Like' was originally built around a short vocal sample by Jarv Dee, but grew to include additional lyrics on black power from the Seattle rapper after he heard it: "Dancey stuff with a message" says Ibe.

Slow jam 'Heyyy', with its preemptive lyrical synths, bridges to the album's next single 'Get You Off'. Ibe had been listening to a lot of Marvin Gaye - particularly 'I Want You' - during lockdown, getting into the production and vocals. After writing the "I just wanna get you off" hooks, he handed the track over to talented singer, actor and playwright Marcus Harmon who wrote the verses and provided the stunning vocal performance.

Keeping the sensual vibe, 'Skin To Skin' samples vocals from 'Private Play' by Wash 'N' Set, also produced by Ibe, with the Chris Isaak-esque guitar lines by Lex from Foreign Tapes. Made late at night, CMYK reminded Ibe of driving at night in the rain in NYC, where the colors bleed together on the wet road while 'Boss', the first track made for the album, is based around a Sunny Jones sample. The closing track 'Feel' was made at the peak of Black Lives Matter protests. "I just wanted something hard sounding," says Ibe.

Known for his residencies at some of New York's top venues, Ibe has been rocking crowds as a DJ for over a decade, and has shared the decks with the likes of James Murphy, Mark Ronson, and Q-Tip. He's performed alongside Wiz Khalifa, Snoop Dogg, Pusha T, and Young Thug, to name a few. In high demand as a private party curator, he's helped set the tone for Jeff Koons, FKA Twigs, Justin Timberlake, Travis Scott, and Usher. When Ibe's not behind the decks, he's in the lab, where he's produced for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others.

Denn leichtfertig würde die amerikanische Rocksängerin solche Superlative wohl kaum in den Mund nehmen. Suzis Begeisterung für ihr neuestes Werk hat viele Gründe, genau genommen 12. Denn exakt ein Dutzend Songs befinden sich auf The Devil In Me, auf dem vom Opener/Titelsong bis zum finalen ‚Motor City Riders‘ jede Nummer ein echtes Highlight ist. Die Gründe für Suzis bemerkenswerte Kreativexplosion: einerseits der Lockdown, der sie ab Frühjahr 2020 von ihrem gewohnten Tourleben abhielt, andererseits die erneute Kooperation mit ihrem Sohn Richard Tuckey, die bereits auf dem Vorgänger No Control glänzend funktioniert hat. Suzi: „Ab Frühjahr 2020 wurden fast 100 meiner Shows gecancelt, und auch Richard wäre eigentlich mit seiner Band unterwegs gewesen, wenn nicht alle Konzerte abgesagt oder verschoben worden wären. Also sagte ich zu ihm: ‚Wir sollten die freie Zeit nutzen, um neue Songs zu schreiben und uns von dem inspirieren lassen, was sich in der Welt derzeit abspielt.‘ Ich wusste, dass Richard und ich ein tolles Team sind, denn No Control war ein riesiger Erfolg und eine für uns ganz besondere
Scheibe. Allerdings hatte ich nicht damit gerechnet, dass wir sie sogar noch übertreffen könnten. Doch alle, die The Devil In Me gehört haben, und diejenigen, die am Vorgängeralbum beteiligt waren, sagten uns: ‚Diese Scheibe ist noch stärker!‘“

Mascot Records will release the 15th Anniversary limited-edition Glow In The Dark vinyl pressing of Volbeat’s debut album, The Strength / The Sound / The Songs, on March 26th, 2021.

The Strength/The Sound/The Songs was first released by Mascot Records in 2005, launching the band onto the greater European music stage with bone-shaking performances at Roskilde, Download and Pinkpop Festivals. The album, which includes their first single, a cover of Dusty Springfield’s “I Only Wanna Be With You” and fan favorites “Pool of Booze, Booze, Booza” and “Soulweeper,” crashed into the Danish charts and earned the band a slew of Danish Music Awards. The album has gone on to be certified 2 x Platinum in their home country, Gold in Germany and has generated over 180 million streams and (still) counting.
This new limited vinyl variant celebrate both the legacy of the album and the future that will bring countless more performances of these songs to the world stage.