Suche:class b

Legitimately available again on vinyl for the first time since its original release in 1983, Outernational Sounds proudly presents a major statement from a crucial figure on the Los Angeles jazz underground – pianist Nate Morgan’s spiritualised deep jazz classic, Journey Into Nigritia.

How many 16 year olds would have the confidence to walk up to a revered bandleader at a gig, and inform him that one day they’d be playing together? As improbable as it sounds, this is how pianist Nate Morgan introduced himself to the great Horace Tapscott, founder of the Pan Afrikan Peoples Arkestra. The teenage Morgan had heard Tapscott’s Flying Dutchman LP The Giant Is Awakened being played by Greg Kufahamu on local Los Angeles radio station KUSC, and Arthur Blythe’s wailing sax had gone ‘straight to the heart. It was a spiritual experience.’ Morgan showed up to all the Arkestra shows he could find. He was already studying with Joe Sample and Hampton Hawes and playing in local bands, but the draw of the Tapscott’s band was too much for the gifted young pianist:

‘I could only take about two or three more concerts before I had to run up on stage. When I first introduced myself to Horace, he tells everybody that I said, “Yeah, I’m Nate Morgan. I’m going to play with you all.” Not that I want to, but that I’m going to.’

Over the next decade and beyond, Morgan would become a central figure in Tapscott’s UGMAA (Union Of God’s Musicians and Artists Ascension’), bringing new figures into the fold (it was Morgan who first hipped Jesse Sharps to Tapscott’s circle; they were lifelong friends), running jam sessions, and eventually being given the task of organising the Arkestra songbook. During the early 1970s he also worked commercially, doing a stint with Rufus and Chaka Khan and appearing on Willie Hutch’s Foxy Brown soundtrack. Into the 1980s and 1990s he remained active, keeping the UGMAA flame alive in late night jams and private sessions, and working tirelessly around LA, including collaborations with Bone Thugs N’ Harmony; he was also part of the early 2000s LA jazz collective Build An Ark. A true musician’s musician, Morgan died in 2013.

Journey Into Nigritia, featuring firebreathing reedsman Dadisi Komolafe, was the first of two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. A committed, spiritualised work that showcases Morgan’s heavy composing as well as his McCoy Tyner- influenced and technically flawless playing, Journey features dedications to Coltrane (‘He Left Us A Song’) and Cecil Taylor (‘Study In C.T.’). Surging, modal jazz from the LA undergound, Journey Into Nigritia is a crucial recording by an unsung jazz legend.

The long-standing collaboration between influential NYC DJ Eli Escobar and critically acclaimed singer-songwriter Nomi Ruiz has produced a collection of timeless club gems. Now after years of featuring on one another’s records, they launch their latest joint project Eli & Nomi, revealing their first production as a duo, ‘Dance 4 Love ‘99’ on Classic Music Company. As they continue to work away in the studio on their full-length LP, this 12” delivery debuts Eli & Nomi’s funk-laden, disco infused style with this glorious ode to the dancefloor. The release also features ‘Dub 4 Love ‘99’ for those in search of something a little deeper and club-focused.

Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

On ‘Ways Of Seeing’ Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin Techno.

Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound pallete, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019.

Having a social scene full of producers has also influenced the album. The opening track 'LA Melody' came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks.
"Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things". On 'Säule Acid' he collaborates with Silvia Kastel and in 'I’m For Real' the vocals of Glaswegian DJ/producer Nightwave filter around the track.

More golden era heat from the nervous vaults! It keeps coming!
1994 is the year and Black Moon and the whole Boot Camp Clik are on a major roll.
'Buck Em Down' is as potent today as it was back then with Da Beatminerz bros flipping Donald with a little 'Hihache' in the mix.
Oh? You love that gritty SP1200, filtered out, buddah smoke filled basement sound? Well, this is for you. All-time classic stuff right here, easily.
Here on dinked 45 for the first time ever you get the dirty instrumental versions of this sublime mid-90's banger.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

Canadian John Varuhin serves up the second tasteful EP on Clyde Records , a sublime minimal techno affair across 4 standout tracks.

This Vancouver artist is a techno DJ and producer who has also played a purely digital live set in the past. He has a clean, crisp style that comes back from the future and is rich in hi fidelity details that make it truly cinematic.

Opener ‘ Bunker ’ is a spacious track with gooey kick drums rolling deep as slithers of synth and tiny metallic sounds glint and glisten up top. It’s perfectly transcendental, while the excellent ‘ Retribution ’ picks up the pace with a sense of silky techno urgency. The unsettl ing sound of distant automation and darkened synths recall the best of Motor City techno and ensure this one will have the floor locked in.

The expertly designed ‘ Rainy Day ’ is pure minimalism, with icy hi hats and scuttling little details sure to find favour with fans of Robert Hood. Hugely atmospheric and absorbing, it’s the sort of deep and late night track that’s designed for intimate club rooms. Last of all, ‘ Detached Screen ’ is another deep, rolling, perfectly elongated groove design to melt your mind and trap you in the beautiful repetition.

This is a classy and timeless EP of meticulously crafted minimal techno.

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

Massive crossover hit from the American Gospel star Kirk Franklin, marrying Patrice Rushen's classic with R&B and hip hop leanings to create this uplifting, inspiring and infectious feel-good sensation.

A true Tony Humphries, Southport and soul collectors favourite finally getting a full single release.

Second release by Onrijn Records with cosmonaut heroes Staatseinde. Who treats us with their dystopian electro and synthwave drenched into dark distorted sounds.

Climb aboard their spaceship while “Ruimte Issues” starts with the countdown. Travel through all kinds of different space/time dimensions with “Panspermia” Finally you’ll land your spaceship in “The City”, a perfect track for all kind of humanoids in an intergalactic night club, ready to riot!

Turn the record over and our interstellar adventure continues with a classic fast electro track “Gut Gemacht” with a modern 2019 HAL’s offspring vocoder. “Blaue Augen” will give you that haunting artificial intelligence EBM / Wave vibe. The last track on the record “Glauben” is the perfect conclusion of this futuristic space adventure called DREIHEIT.

“Prove Your Love” by Misunami & First Touch returns to the Neon Finger catalogue in a brand new 12″, including the original versions (vocal and instrumental) plus two new mixes by the enormous Nick Wisdom (1/2 Potatohead People) and the huge Bamboozle aka Eli Soul Clap. After the big success of the track years ago, being played by some of the biggest selectors in the world… This future classic boogie disco track is available again with two new astonishing remixes that will burst into flames any dancefloor. Don’t miss it!

This record contains two stone cold classics from the rave era. If you bought any tape packs or went to any raves in 1992, these are the two staple tracks most DJs would draw upon to keep the energy levels high.


On top of that, they are written by the rave overlord – Ellis Dee. Basically, the go to guy for any promoter that wanted their rave to be up there in the top tier.
These tracks sound as fresh and as the day they were released. And that is why we have decided it needed to have another short run repress as its been 4 years since we first pressed this record. But to make them even more special we have pressed 120 units on heavyweight 180g marbled grey vinyl. And as with every Vinyl Fanatiks release it comes presented in a black paper inner sleeve within a heavyboard Vinyl Fanatiks housebag.


This is a short run so get your orders in whilst they are in stock.


Fantazia… are you ready???

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

In the world of disco edits The Patchouli Brothers are as in demand as you can possibly be right now.

Their edits and reworks are played and hyped by all the major players in the game and now they got a two-part release on GAMM.
On the first EP we begin with All Good Things, a looped up disco nugget aimed straight for the peak hour...decent!
On the B, we get more organic with a proper feel-good disco thang in classic Patchouli style.

A limited edition 7” DOUBLE PACK release by TARIKA BLUE, this outstanding band release two LPs back in 1976 & 1977 on the Chiriucuro, label. Here are four of the best tracks from the second LP self titled “Tarika Blue”.

DYNAMITE CUTS give you a super fresh cuts of these wonderful jazz fusion classics. Loved and collected by all good music collector around the world. This LP has become sort after and sells for the original around £350. Dynamite cuts has reissued the best four songs from the LP to give you a wonderful limited edition vinyl pack, don’t miss out x600 only

Catalan Gypsy singer from Perpignan France has been making waves in the Gypsy Rumba scene with his new album "El Mundo".. prompting the release of this 12" Vinyl EP of his tune "La Rumba Me Va" with Remixes from Ashley Beedle, Art of Tones, Raph Dumas and Jeff The Fish covering several different styles from classic House, New Disco, Soul and Latin Jazz. There's something a little different here for the DJs... Gypsy goes global!

Keep Your Mind Alive is the LPH debut for Rydm Sectors, an Italian duo that bridges classic New York house and UK garage and lightens the resultant hybrid with well-placed sparkly synth work, jazzy drum fills, swanky piano licks. Nightclub music that’s been genetically modified to be just as functional and fun there as it is laying on a breezy beach, soft white sand your pillow, crashing high-tide waves reminder of the nature around you.

“What to do with a spud like you?” Melbourne post-punk wags Terry return this summer with their new EP ‘Who’s Terry?’. You can just make him out in his hobnail boots, peering from behind the sandwich board, wink, wink. Following on from last year’s huge-sounding ‘I’m Terry’ album, this third EP from the band brings you right up to date with their wobbly politico-pop.

‘Spud’ is a class A toe-tapper that sees the band don fatigues and set their sights on the enemy. The rough and the tough, wrestled wrists and fools with crooked smiles all make an appearance as Terry sing as one over snare snaps and keyboard croaks. ‘Bizzo and Tophat’ follows with a stride across the underbelly, a thick slice of bop-heavy observation that gives way to one of Terry’s most elegiac refrains… “holding on and going forth”! Their gang vocal approach never sounding more resolute. ’Eggs’ then picks up the pace, a sure-footed romp that skips alongside prods of saxophone to join the parade.

‘Drawn for Days’ pulls the EP to a close, a sedate, melodic ponderance of strummy guitar, jangling bells and Amy and Xanthe’s soft-sung vocals. “Haunted by the big and small, hunted hanging for the fancy fall”.  “I can’t stand up” the band decry in unison as the track scales its peak and gives way to warping synth noise. ‘Who’s Terry’ encapsulates what Terry does best, the queasy marriage of the upbeat and traumatic, the catchy instant and the nagging distance. Their alliterative lyrics always sharp as tacks, their sense of melody and beat sunk deep in the heart of now.

San Francisco’s Honey Soundsystem Records returns with a new single this July, inaugurating a new collaborative guise from Juan Maclean and Kevin McHugh (aka La-4a / Ambivalent) entitled Longlost.

It is rare the combination of simple and catchy happen in dance music, but ‘Take 8’ is just that. A song so heartfelt and recognizable it demanded its own slab of wax, a true single! This expertly mixed and crafted house cut romances listeners into a catchy live piano ditty that seemingly could pleasurably repeat for days.

Inspired by the tracks lead melody, the label set up NYC classical Pianist and friend of Honey Soundsystem crew Kevin Devine on a blind date with the producers a new version. Kevin whipped up a compositional response to the original and he was recorded live on a Grand in La-4a’s studio. Finally, to make it a family affair, Taraval, known for his work of Four Tet’s TEXT, teams up with label co-founder Jackie House for a kraut-no take on the original, fusing vacillating resonant bleeps and robust drums with glimpses of the original’s ethereal sounds.

Long time underground innovator Illja Rudman returns with "Sagittarii", a fourth fantastic studio album and his second on Bearfunk.

As boss of both Red Music and Imogen Recordings, as well as being a skilled DJ and diverse producer, Rudman has been an integral part of dance music for years. The Croatian effortlessly veers from electro to disco to house with his own colourful sense of melody and club-ready grooves and has done so on more than 70 releases on labels like Classic, Rong, Electric Minds and Is It Balearic Recordings. This superb new album lands just a year after

his last, "Paradigma", and is another subtle evolution in his style but one that continues to deal in authentic analogue textures with flashes of throwback funk and disco gold and a slick sense of boogie.

Things open up with the glistening future-retro chords of "Dreamscape Planet" a quick,upbeat cut that is ready made for dancing in the sun with its majestic strings and nimble basslines. "Cosmia (Regal Mix)" is another bit of engagingly urgent disco funk with clipped drums racing along beneath heart melting chords. The stylish "If I Keep My Eyes Closed (Mezzanine Mix)" slows things down, with a snaking bassline and wallowing chords making for more cosy and intimate listening while "Synthia 2000" is a more playful cut with wiggling bass and withering chords that bend space and time as you get down and boogie.

The gorgeous glossiness continues with another tight bit of disco-funk lushness on "6th Floor Entrance (Guardians Gate Mix)" and "S.O.S. Flight Theme" serves up some rugged bass lines and mad xylophone patterns on top of corrugated drums that will get any club in a spin this summer. Closing things down in the tropical tinged exotica of "Techniques & Tactics (Nocturnal Mix)" with its long legged drums, blissful Balearic vibes and superb sunset stylings.

This is an album that brims with cosmic disco energy, emotion and excellence from start to finish.

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill).Recorded over an intense two-day session, 'Clap Your Hands' is heavily influenced by the classic soul jazz recordings of The Young Holt Trio / Young Holt Unlimited, and Ramsey Lewis, from who this group take their name. As with many of the classic Ramsey Lewis cuts this album was recorded live, capturing the rich inter-relationship between the players and leaving in some of that chunky room noise.

Claps your hands/Stomp Your feet was recorded during the sessions for the upcoming Album 'Clap Your Hands'. building on the template set by their eponymous debut album these tracks further explore the 60's soul-jazz of Ramsey lewis and Young-Holt and the latin boogaloo of Eddie Cano and Pete terrace. A-side 'Clap your Hands' opens with cowbell, handclaps and bass before drums and electric piano enter to carry the track onto the dancefloor. This is one for the Djs and it'll do the business in the clubs for sure, but, also perfect for a late night, sweaty house party - shoes off and beer in the sink. B-side 'Stomp Your Feet' is much more in the classic mod-jazz frame with a faster pace and funkier drums, but still with handclaps and electric piano to the foreground. Drummer Hobbs opens up 'Stomp Your Feet' in fine style, and The Lewis Express start to swing with a Ramsey-esque groover that's just made-to-measure for dancers. Everything comes together here, with a mid-60s Cadet record feel throughout. Both tracks were recorded live to tape and were recorded and mastered for a tougher sound perfectly suited for djs to fill a dancefloor.

Exciting new electronic project E&D burst onto the scene in stunning style with the exhilarating ‘Not Enough’ and ‘Runaway’, released on FCR on 14th June and backed by remixes from acclaimed electronic producers Mall Grab and Ali Berger.

London based E&D have unleashed two scintillating vocal cuts which have UK clubbing culture at their very core, featuring classic Garage influences. The theme of heartbreak runs throughout both ‘Not Enough’ and ‘Runaway’ with an emphasis on harmony and melody which will be integral to the identity of the E&D project.

The deep and atmospheric ‘Not Enough’ presents a beautiful yet powerful female vocal whose tone and expression perfectly emphasises the message of lost love. E&D perfect balance this with contrasting shimmering and stabbing beats to produce a track that already has the hallmarks of a classic.

‘Runaway’ is an up-tempo, vintage-sounding UK Garage themed cut with poignant undertones, as the gorgeous female vocal again mourns a relationship which has moved on.

For the remixes, E&D have called upon two of electronic music’s most respected producers – Mall Grab and Ali Berger. Both offer a completely fresh perspective to the originals. With his remix of ‘Not Enough’ celebrated Australian Producer Mall Grab takes the original into deeper, tougher territory, stripping back and lowering the vocal and adding intense, almost tribal, percussion alongside vintage acid house beats.

FCR favourite Ali Berger also takes his working of ‘Runaway’ deep into the underground, emphasising the bass, cleverly layering the vocal and building to a peak-time floor-filler.

Enzo Elia – one who knows how to conceive Italo driven audible passion with the machines that surround him. His releases on cult labels Compost, Free Range and Black Pearls Records have long spoken to us here at KOMPAKT.

We welcome this summer heater which is “Gilli 88 EP”. A tribute to the 80s phenomenon…THE PANINARO. Without any ideological basis or connection to a particular lifestyle THE PANINARO was based around fashion imagery and luxurious clothing. Enzo found this translatable to today’s social network dynamics and is prime for the retrofuturistic dancefloors of today that are inspired by the golden days of Italo-Disco.

“Low Red” is a Italo-Pop gem conceived with Quique Aldebaran and Quique on vocals that takes inspiration from the legends that were – the mighty Suicide. An instrumental version dives deeper into the groove for DJ play persuasion. “Aj Squinza” takes a classic 80’s disco approach with sound-scaping synths that endlessly jam with an everchanging rhythm. “Volpinata” succumbs to a classic EBM groove that finds its way out of focus due to fat synth melodies that engorge this elevating track.

Onward and upwards - the Belgian dubstep imprint Overdue maintains its super-heated release schedule with full force. With a meticulously curated artist roster and continued support by the likes of Mixmag and other vital institutions, this release yet again perfectly aligns with their vision of subculture sound system music. Spearheaded by a positively prolific artist, their fourth record features Teffa on the controls. Following up on some massive 12" releases on crucial labels such as White Peach Records and Foundation Audio, the up and coming artist furthers his status as a versatile and highly capable producer with three tracks of unadulterated sound system pressure - including a weighty collaboration with Chad Dubz.

Arming the record, "Shell It" heads straight into the matter at hand, precision engineered weaponry clocking in at 140 BPM. Drums like mountains, effortlessly heaving immense amounts of low-end, smoothly embedded on silky pad swells. Fusing old-school elements with the present like few others, the lively arrangement does the rest to keep the crowd aflame without end. Music with an attitude - rewinds assured.

Fasten your seatbelts as the record kicks into overdrive once again with "Sludge" as faint police sirens and reverberate into oblivion only for it to implode into an instant dubstep classic. Driven by its ridiculously effective and minimal instrumentation, the underground unravels itself in sonic form. Spacious pressure wave emissions, especially primed for the dance.

Stepping up to the title track, "Illegal" tops off the 12" most beautifully - packed with Grime and Breaks influences and mesmeric melodies. As unshackled 808's pound away alongside a murderous set of percussions, the electronic soundscape treads through hypnotic harmonies and dance-inducing groove - Teffa signature style at it's finest.

Having just announced his first solo Ibiza residency, Dance or Die, Nic Fanciulli continues his impressive run of form with a long-awaited debut on Crosstown Rebels. Entitled Miracle (Body Rock), the two-track release includes a stunning remix from esteemed UK talent Paul Woolford.

Beginning things in fine form is Nic Fanciulli’s original Miracle (Body Rock). Whispering percussion combines with the subtle plucking of guitar strings, as echoing vocals are layered underneath soft,
moving pads to create a well-rounded, moving number. Paul Woolford’s Endless Bassline remix comes next. Stuttering hi-hats provide rhythm as the titular rolling bassline chugs on, whilst toneful piano keys merge with reverberating, soulful vocals. Unique, yet staying true to the original, the addition of distorted
claps helps create the perfect dancefloor cut; but it is the re-singing of classic Jomanda’s ‘Make My Body Rock’ vocals that links both tracks in a moving, emotive fashion.

A name synonymous with electronic music culture, Nic Fanciulli is a DJ, producer, festival curator and
label owner whose career has spanned two decades. It was in 2005 that Nic founded Saved Records, an
imprint that is now synonymous with releases from some of the scenes greatest, including Adam Beyer
and Hot Since 82. But it was his latest release on Rekids, titled Understand, that further cemented his
reputation as a standout music producer, with a clear-cut ear for the perfect dancefloor melody. Paul
Woolford is a veteran of the UK’s electronic music scene. A prolific producer who has used many
aliases, the British talent has recorded five Essential Mixes for Radio 1 as well as holding down a nine-
year residency at Space Ibiza. His recent releases demonstrate his continued talent for producing,
including You Already Know, Hang Up Your Hang Ups and Story of My Life on Hot Creations.

The  Hammond organist’s classic 1968 album. His second record for Blue Note. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 23rd July 1968. Produced by Blue Note co-founder Francis Wolff. Featuring an all-star unit including Lee Morgan (trumpet), David ‘Fathead’ Newman (tenor sax) and Melvin Sparks (guitar). Kicks off with the hard-driving Hugh Masekela composition ‘Song Of Ice Bag’, and continues with a take on ‘Three Blind Mice’, a brilliant version of the title track, made famous by Aretha Franklin, and two more Latin-tinged Smith originals (‘ The Call Of The Wild’, ‘Slouchin’’). Includes liner notes written by Rhett Evers.

Balmagie Jam Rock consists of 16 unreleased dub mixes from the dub master King Tubby. All the original songs were written and produced by Roy Cousins from the Royals. Featuring a virtual who's who of reggae from the classic era -- Sly & Robbie, Lloyd Parkes, Pablo Black, Lloyd Charmers, Ansel Collins, Earl Lindo, Tony Chin, Geoffery Chung, Ernest Rangin, Earl 'Chinna' Smith,Bobby Ellis, Tommy McCook and many more. With the voices of Prince Farl, I Roy, The Royals, and Baba Dread. Recorded between 1966 and 1979 at Dynamic, Channel One and Randy's studios, mixed and voiced at King Tubbv's.

Check! Brand new EP by The Abstract Eye, the L.A.-based producer also known as GB (Gifted & Blessed), Frankie Reyes and a few other monikers, **Very LTD release !**

Although he is known to have an incredibly wide range of stylistic approaches, he is probably best known for the music he makes for the dance floor. His classic releases Cool Warm Divine (Valentine Connexion) and GB Presents: The Abstract Eye (Eglo) have solidified a unique analog electronic sound of his own as The Abstract Eye that he further explores and expands on in these six pieces. This record displays a diverse range of emotions, textures, rhythms and colors, sounding like it could have been made any time, past, present or future. While simultaneously staying open to the ever-changing world of music and also observing the current record industry in which many factors besides the quality of the music itself seem to take precedence, The Abstract Eye asks the question, what's real anymore? For him, it comes down to the feelings this music evokes. That is as real as it gets.

Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).

Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.

Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.

Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.

Manta, this release made itself. Crow sample, swampier than the everglades and swing!
Manta is a man crafting some of the most off kilter sounds we have heard and these tracks go a touch of the way to show the mans class!
Control of the uncontrolled.

Another classic Cosmic Chronic from a few years back, rounding out the end of an era for the Miami imprint. Re-mastered by Stan Getz. Machine Gun Boogie b/w Sophia.

Irie Mona goes for a Dub adventure on Mystery Booms ! An already two classic tunes EP in town. He’s a producer based in Lyon since a decade and he perfectly knows how to inject new digi-attitude in the old-school way of dub productions. A perfect ballad for some delicate sunbath. Two songs to sing onnnn! Its a tribute to Dub Masters Tubby and Pablo, delivering Sunshine Skanks, Spring Beats and Sisters and Brothers Love for the Summer.

Early Support : Judaah (BFDM), Tarba (BFDM), The Pilotwings (BFDM), Sacha Mambo (Macadam Mambo), Leo James (Berceuse Héroïque), Nummer, Chez Emile Crew, NVST, Folklore Crew, Groovedge, Emeline XIII (Sumo Smash), Warzou (Jump, Nous Disques), Eddy Larkin…

RLSD 003 comes correct delivering a dynamic and functional
dancefloor tool. Following in the tradition of what the label is all about
‘Tensional Ground VA’ again delivers with the full weight of the best of
Irish Techno. Tensional Ground VA presents long serving purveyors of
the techno sound Stuey Lyons, Casper hastings and Rustal somewhat
unsung heroes of the Irish scene, all having received great acclaim on
the international circuit getting support from the top international techno
brass. Stuey Lyons leads the pack with and upfront functional FM tool.
Stuey’s in depth cultural awareness of Techno cultivated this driving
nightmaker that has been recognised as a festival anthem receiving
great acclaim long before its release date. Rustal delivers a broken set
breaker that morphs and progresses to aid any DJ in the depths of a
long haul set. This track has more than delivered and offers new insight
with every listen. Caspers upfront in your face track is an instant classic
that will rarely leave the bag. Hastings Showcases his production skills
and true sound with a rough and ready analog production that was and
easy choice for the labels final cut. Stuey Lyons original ‘The Rift’ gets
the remix treatment from Echoplex providing a Soliel Remix throwing a
dancefloor curveball complimenting the upfront functionality of the
other tracks. Echoplex being a favourite of the label owners who have
taken great inspiration from his contribution to the scene. Working
alongside Echoplex holds great significance for the label as his
contribution reinforces the identity and culture the label portrays in all it
does.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

• Durham born Ruth Copeland was an unusual signing to the Invictus label but her folk-funk albums have become cult items in recent years

• Collaborations with her husband Jeffrey Bowen, George Clinton and members of Funkadelic, this is her highly acclaimed second album and is hard to find on original pressing

• Funk/Rock classic, ‘I am What I Am’ has never been available on vinyl since its 1972 initial release and features the club classis ‘Gimme Shelter’

• Demon Records are proud to reissue on 180g heavyweight vinyl with printed inner sleeve and original artwork

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

Following the reissue of ZiadRahbani's "Abu Ali" album, Wewantsounds is pursue its exploration of great Lebanese music with the reissue of "Wahdon," released in 1978 by legendary Middle Eastern diva Fairuz and recorded during the Abu Ali sessions and including the Lebanese dancefloor cult classic “Al Bostah“. 1978 is a turning point for the Lebanese Diva. The 70s had seen her rise as an international star, playing sold out concerts in the US and in Europe, and appearing on national TV in France. She had had a long-lasting artistic collaboration with her husband AssiRahbani and his brother Elias (aka The Rahbani Brothers) who, together, had penned most of the singer's classics. In 1978, Assi who had suffered a brain haemorrhage in 1972 got weaker and the collaboration finally ended (together with their personal relationship). Their 22 year old son Ziad took over Fairuz's musical reins and set to work on their first album together, "Wahdon" ("Alone"), serving as her mother's producer, composer and musicaldirector. Wahdon typifies this key moment in Fairuz's career when she switched from traditional to more modern arrangements. The first side of the album encapsulates the more traditional side of the singer with such mesmerising songs as "Habaitak Ta Neseet Al Naoum" ("I loved you so much i forgot to sleep") or "Ana Indi Haneen" ("I'm Nostalgic"), filled with gorgeous arabic strings and percussion. The Second side though is a whole different affair. Recorded in Athens at the EMI Greece studio at the same time as the Abu Ali sessions, the two long tracksbrings a hipper, contemporary funk and disco feel that has made the album such a collector's item with DJs and diggers around the world. Clocking at almost nine minutes "Al Bostah" ("The Bus") tells the story a woman in love remembering a bus journey with her lover under a scorching heat, enhanced by an hypnotic uptempofunkified disco beat, while "Wahdon" brings a slower and jazzier underlay to Fairuz's superb singing. These tracks shocked some of the diva's fans at the time but they've since passed the test of time and have become highly sought after. Whadon has since become both aclassic Fairuz album and a cult ZiadRahbani production that Wewantsounds isdelighted to bring to a wider audience for the first time.

DJ Haram is a producer & DJ who distinctively ties her New Jersey musical history with more recent involvement in the Philadelphia DIY noise scene, whilst paying homage to her Middle Eastern roots. A close affiliate of New York's Discwoman collective, she is also one half of 700 Bliss with rapper & poet Moor Mother, who features on this EP. Haram’s non-traditional understanding of Islam, paired with a nuanced perspective on folk tradition and mythology, underpins the EP, bringing fantasy and colour to this in-between place. On opener ‘No Idol’, a darbuka rhythm pairs with offbeat claps around a dark synth and a contrasting airy flute melody, illustrating the theme of duality running through the music. The melodies of ‘No Idol’ are revisited in the final track remix, sped up with a classic Baltimore club beat and energetic bedsprings samples.‘Interlude’ is a combination of the sounds and patterns from each song. ‘Gemini Rising's synth is reminiscent of John Carpenter, paired with a darbuka rhythm and war drums that transmit a religious sci -fi horror aesthetic. ‘Body Count’ is propelled by Jersey Club kicks with a distorted drum crunch and ticking rim shot in triplets, and an ethereal melody. ‘Grace (K.O.D.)’ has menacing cinematic stabs that feel like acid raining on the scattered percussion. On the 700 Bliss track ‘Candle Light’, Moor Mother's distorted and doubled up vocal chorus evokes a frantic yet solemn energy as she speaks on themes of life and death.‘Grace’ is an EP constructed through deep feeling, transmitting vital dancefloor energy. It’s music is versatile, imbued with a strong will, personality, and colour.

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.