Suche:d kill

Salsoul opens the vaults once more to today's top editors and remixers. This incredible 12" sees those PBR Streetgang dudes take the reigns to great effect.

Digging in the vaults for those lesser spotted gems, the PBR crew have tweaked up 2 absolute Tom Moulton related killers here for our enjoyment. Side A is a finely tuned, lovingly fondled version of David Christie's LP cut 'Back Fire' from 1978. A sleazy, almost Euro feeling good timer that does the biz. On the flip, is the Destroyers mammoth 'Lectric Love', another lowdown cruiser of a track, nice cosmic FX and leather vibes for the late night prowl! Both edits are brilliantly done, and with a knowing and respectful nod too, one for the heads right here.

Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2020. Accept no imitations!

Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

Patrick Ryder

It has been a LONG time since Bushwacka! released any music on his original label, Plank Records. Its apt that the label started 25 years ago, and now, for its 25th 12 inch release Bushwacka! has delivered a killer 4 track EP, pushing boundaries of time signatures and paying homage to his rave breakbeat days as well as turning up the heat with the electro cuts.

A1. All Night in Heaven actually started out as a rave house track, with the killer breakbeat drop in the middle, but Bushwacka! changed the arrangement specifically to play the track at the Return To Rage event at Heaven, where he first went raving every Thursday from 1988 to 1992. The track sounded so massive on the dance floor that he decided to keep the breakbeat vibe throughout the track and release it on his Plank Imprint.

A2. It’s The Five O is a piece of music that defies gravity. Its a fusion of percussive assault, tribal chanting frenzy, and a bassline from the depths of Hell… but the magic of the track is its 5/4 time signature. Incredibly challenging to mix in and out of, yet so unique in its rhythm that people bust shapes they didn’t know their bodies were capable of.

B1. Feng Shui is a piece of filthy Electro Breaks that pulls you inside out and upside down. Bushwacka! has his signature Plank sound all over this, with raw rhythms and deep melodies and twisted warped sounds.

B2. Whiplash was written three years ago in Bushwacka’s Ibiza Studio. Its a cross between Electro and 4/4 dance music, with a beat so powerful the floors feel like an earthquake has hit them. This is the most pure of the tracks in its direct line to the early 80s Electro sounds, yet sounds like it was made yesterday. It has been destroying the clubs in his sets since 2017 and now needs to be shared.

Plank Records has had a devoted cult following and second hand the tracks have been changing hands for big bucks, and many vinyl labels have been re releasing some of the cuts. It’s so exciting that the label is launching again for 2020, with a sound often imitated, yet never replicated.

Stap me! When you think you've heard it all, someone comes up with more earth shattering music, restoring your faith in humanity (well, almost). Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog canine variety and a New York cab driver, among many others.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

The label is delighted to welcome Kris Baha with his first 12" for Especial. After killer remixes of Sfire and Red Axes for the label, his name as an artist, with his darker take on dance music, has risen and risen.

With releases on Bahnsteig 23, CockTail d'Amore and Pinkman, Baha has become a respected artist in just a few years. Building analogue equipped studios in Melbourne and Berlin, DJing, producing and mixing have all led to atonal ear, where success came through dedication.

Following his debut album Palais, Barely Alive acts as release from these years of sweat. A call to all in this modern world, the song exemplifies a move from club music to a freedom in sound and song, as vox crash against 808 and Arp 2600. Remixes start with Timothy J Fairplay a name synonymous with Especial. Here TJF laces his trademark echoplexxed wash for a cold wave mover. Next prodigy Job Sifre builds on his acclaimed debuts with a remodel that goes straight to 'that' basement, mixing his love of electro, new wave and industrial. To close, the legend of Das Ding creates a re-alternate remix, fusing his unique fuzz with Baha's ode for a brittle finale.

Keita Sano continues to release from prestigious record labels such as "Spring Theory" and "Mister Saturday Night" and his delicate but bold music is garnering attention around the world. After moving to Berlin and further evolving as an artist, he is now releasing four-track NEW EP from his label 'MAD LOVE Records'.

This EP is consists of 4-tracks full of love and explosive power!
A1: Layers elegant deep house grooves over a raw beat in
impeccable balance.
A2: A party tune influenced by the original Chicago house scene.
B1: Disco and afrobeats mixed with obscure sampling.
B2: A striking floor killer tune.

A completely new frontier that combines the pleasure of disco music and the functionality of a techno/house dance track! The jacket photo is by a young Japanese photographer So Mitsuya. The design by ifax!

The Boogie Twins aka Ashley Beedle and Ray Mang have reworked and edited one of Paul 'Trouble' Anderson's biggest signature tracks.

A message from Ashley Beedle:
"My Electric Ballroom crew, that were later to become the infamous Shock Sound System, was myself, Stan Zepherin, Dean Zepherin, Paul Denton, Cecil Peters and Ricardo Da Force (R.I.P.)
We loved going to the Electric Ballroom to see the legendary Paul 'Trouble' Anderson who was killing it in there with Boogie, Electro, Hip Hop and Disco - he was such a huge musical influencer.
When he dropped 'Heaven and Earth' in the mid 80's, the joint went ballistic.

That tune ruled London and became not only a rare groove classic but remains a much loved staple of today's club scene - all because of Paul's exceptional ear for music.

Bringing glitch aesthetic into the new decade, Aaron Spectre (aka Drumcorps) gives us Computorr, a look into digital dystopia through eyes of jungle, punk, noise, & rapid-fire sampling. This energetic EP features Aaron's signature cut-up yet concise beats, and unites several subcultures at their roots.

Artwork for this record was also made by Aaron, using analog video synthesizers & old CRT televisions, for the medium is the message. Vinyl is top quality and hits hard, its clear highs and powerful bass mastered and cut by Keith Tenniswood, and comes in several different color varieties.

Germany's JAHMONI are on release and distribution duties via Rubadub UK, hot on the tails of their diverse multi-genre releases by DJ Marcelle, BELP, and Summer of Delete.

Danny Krivit's fine re-edit of Gary's Gang classic "Let's Lovedance Tonight" first surfaced on Nervous Records back in 2007, and has been something of an in-demand item with disco DJs ever since. This, then, is a more than welcome reissue. The genius of Krivit's scalpel job is that it merely emphasizes the sections of the original that dancefloors want to hear; specifically, the acoustic guitar and organ-heavy groove, killer drum breaks and winding saxophone lines. It's simple but devilishly effective.

"Let’s Do It" by Convertion is another era defining soul-infused disco classic from the Sam Records catalogue. Danny Krivit similarly works his magic bringing out those elements that make the track – originally produced by Greg Carmichael and featuring the legendary Leroy Burgess on vocals – such a must-have item for all collectors.

Anton Klint has been on our radar for a good 10 years now with killer releases as Tiedye on Italians Do It Better, and under his own name on Public Possession, 2MR and Hivern Discs just to mention a few.
Since 2016 he's also been running the label Tryck & Ton together with his old Tiedye sparring partner Edvin Edvinsson.
We're psyched to have him onboard and we hope you are to!

Prins Thomas, January 2020

Emergency Ward! (1972) is Nina Simone’s statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day. The entire first side consists of a 18-minute medley of George Harrison’s “My Sweet Lord” and a poem by David Nelson called “Today Is a Killer,” set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols’ “Cool Jerk” with a call-and-response vocal arrangement - one of Simone’s finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York. Side two consists of the Lennie Bleecherâ’s Jeremy Wind song “Poppies” and George Harrison’s “Isn’t It A Pity”. Tracks 1 and 3 were recorded november 18, 1971 at Fort Dix, and track 2 is recorded at the RCA Studio in New York City.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• 1972 ALBUM FEATURING “MY SWEET LORD / TODAY IS A KILLER” MEDLEY
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Nairobi, Kenya, 1978. In the Phonogram Ltd. music studio, the popular Congolese Rumba band Les Mangelepa is finishing a session. Things are going well: they have recorded all the music they planned and still have an hour to kill before giving back the studio keys. How about improvising one last song on the spot? And this is how “Nyako Konya” was born. An incredible 9 minutes hypnotic jam, that’ll eventually become one of their biggest tunes, earning them a Gold record and international acclaim throughout Africa. Meticulously restored and remastered by French engineer Nicolas Thelliez, the original version is featured here together with remixes by three talented producers: French House/Disco producer extraordinaire Yuksek and his wall of sound skills, Netherlands’ Afro lovers and world famous studio maverick Umoja delivering a space dub Lee Scratch Perry style, and last but not least, the trademarked syncopated stabs from Brooklyn’s Uproot Andy.

Music Mania and Indica Dubs is proud to present the 16th release: Dubs Convention LP. This killer LP was originally released in 1996! This joint album features UK Dub legends; The Bush Chemists, and The Dub Organiser.

This gem shows the true 90s Dub vibes through the raw mixing skills used throughout the album. From the lightening sounding reverb on the snare, to the phasing phaser on the chords; this is the sort of original sound that shaped the Dub scene into the “steppers style” that it is today!

The original artwork of the cover and labels have been maintained to keep the authentic look of the original pressing from the 90s. As well as the original master tapes to keep the audio at the best quality possible!

We are very proud to presents this official and first ever reissue of The First Coming, by Twylyte ’81, an extremely rare and underrated Soul-Jazz album produced and released in 1981. Twylyte ’81 was a 3 pieces band composed of Frank Jones Jr., Alfred Brown Jr. and John
Belzaguy, who, except for John, have never recorded anything else than this incredible album. The First Coming is primarily standing out by a superb composition, mixing touch of Soul, Jazz, and Disco together. It secondly shines thanks to the amazing deep and spiritual
voice of the band leader, Frank Jones Jr., whose vocals style can sometime remind of John Lucien. Even more impressive is the fact that these 3 fellas were all less or close to 18 years old when composing and recording this beauty. As did others brilliant hidden projects such as Ted Coleman Band, or Minority Band, it was also useful for Twylyte ’81 to receive the support of JSR Records, a kind of non-profit label dedicated to help young bands and artists in recording and producing their own records. Here are a few words from Al Brown Jr. about this release: “After 38 years, I still have the euphoric feeling while listening to this album. I would say that this was one of my greatest achievements. I want to say "Thank you" Pascal Rioux and associates for sharing the group's vision with the rest of the world. I pray the listeners will feel a portion of what we tried to convey through these songs. When I first began this project, I thought it was just killing time. Being 17 years old at the time, I didn't see the music we worked on being recorded. We (Frank and I) were in a basement practicing each song. Who knew that this music would be recorded let alone picked up 38 years later? I still remember every beat, drum roll, every stop/start; everything. Wow, the nostalgia of it all. I wish this album much successful and I hope in the future I can perform this album live.

XXX starts 2020 fresh with catalog number XXX008. A diverse EP with four original tracks by Stijn Sadée, who had a killer release on Kitjen in 2018. It’s not the first time we see Stijn Sadée releasing on XXX, but this time he delivered a proper EP. Manfredas is on remix duty on the b-side. When Stijn was playing his live set on a festival in Amsterdam Manfredas saw him play. They clicked soundwise and a remix idea was born. Artwork was made by artist Thomas Sadée in collaboration with Stijn himself. Already played and supported by massimiliano pagliara, il est vilaine, nuno dos santos, dave harvey, curses and many others.

Having made a huge impact amid Carl Craig’s celebrated 2019 entry in Planet E's Detroit Love mix compilation series, Ataxia's anthemic ‘Oblivion’ arrives on vinyl for the first time alongside a new cut, ‘Michaelangelos’. Each track takes Ataxia’s notoriously detailed production techniques and applies them to a widescreen, enveloping template.

Constructed from rubbery basslines, wormholes of rave power and a structure that applies tension and release to killer effect, ‘Oblivion’ has continued to engross dancers since it’s digital release, transmitting an increasingly rare blend of minimal yet maximal rave pleasures.

On ‘Michaelangelos’, Ataxia further demonstrates a fluid ability to keep listeners on their toes, shuffling the deck but applying the same irresistible tricks to a rhythmic, tripping cut and the unexpected sample at its core.

Consisting of Eric Ricker and Ted Krisko, Ataxia have previously released on labels including Visionquest, 2020 Vision, Leftroom and Kevin Saunderson's KMS Recordings. They currently hold down long term residencies at the legendary Marble Bar and TV Lounge in their hometown of Detroit.

After a year of preparation on new project, we are back to Boogie your Butt again, this time is on a Samm Culley Band reissue. We are happy to bring back to your ears this giant artist, who across decade of music, with great personality had giving us so many groovy songs. Samm Culley is an R&B, Soul & Funk keyboard player, a dope songwriter. His music career started within the band « Tiny Tim & The Hits » with « Tom Price & Bill Collier ». This trio soon left Tiny to form them own group « The Diplomatics » with « Irving Waters » as lead singer. They later on became the legendary « Skull Snaps » (One Lp on GSF Records)… Over The Time Samm co-produced and (or) played with many unforgettable famous artists such as The Fatback Band, George Kerr, Patrick Adams, Vaughan Mason, Reggie Griffin, De-De, Van Mc Coy, Lloyd Price & even later in Hip Hop music with Marley Marl or Freddie Foxxx. Back in 1982, the original issue of the A Side “Walk”, a great killer dance floor tune, the sunny guitar hook make you feel the summer heat Jazzfunk Boogie, came out on a Silver Cloud Records 12inch, this track bring you light shine to dance as a Walk, close your eyes & easily imagine crazy tricks of Jazz Funk dancers, go fly with his sensual voice & let's tripp on sunshine... The B Side is a remix by our well known Lord Funk & his partner Moar, their wishes was to respect the original song, putting on a slight drums & effect. We hope you gonna like that new Boogie Slice!

Completing a red hot trio of remix EPs of Calm’s By Your Side album is this final part with Lucas Croon, Cantoma and Gallo and Yuri Shulgin all serving up expansive and mind altering new versions.

He doesn’t release often but when he does you need to listen to Lucas Croon. His unique take on ‘Before Landing’ is a proper dance floor heater to get you on your toes. Once you're there, a gentle rush of rave euphoria tases over you and sends shivers down your spine as old school breakbeats and glowing pads complete the trip.

Elsewhere, long time Balearic pin up, scene hero and all round blissed out boss man Phil Mison has a new album corn gin the spring. Before that, he becomes Cantoma for a timeless version of ‘You Can See The Sunrise Again’ that has bright blue skies and jaunty chords making you move.

Regular label artist homie Gallo is in the form of his life right now - he's resident DJ at Hell Yeah's weekly Balearic night Buena Onda in Berlin, has a growing reputation for being one of the best eclectic selectors in the game and is currently working on compiling the forthcoming BUENA ONDA comp with label head Marco. He gets long legged on his deep cut remix of ‘Sky Color Passing’ which is another killer that slowly but surely works you in a slow motion acid trance.

Completing this most exquisite outing is Yuri Shulgin, a multi-instrumentalist music producer from Tajikistan with credits on Cocktail d'Amore Music. His spellbinding take on 'Ending of Summer, Beginning of Autumn' is a fusion of jazz, leftfield and electronica will have you in a spin and your head lost in the clouds amongst the twinkling stars and cosmic pads.

Paella Hair Sex is the beginning of a new chapter in Alexis Raphael’s musical story. The first two EPs will be from the label boss himself, kicking off with ‘Digital Music Almost Killed Me EP’. Then attention turns to new artists joining the PHS family - please email demos to paellahairsex

Alexis came to prominence in 2011 with his seminal track ‘Spaceship’ and followed with a series of lush, sexy and warm house records that gained universal praise and put Alexis’ sound all around the world with fans from Australia to Peru. As the music and scene evolved, so too did Alexis’ sound becoming somewhat harder whilst still retaining some of his signature elements; references to acid house, hardcore and jungle, deep pads and sweet vocals.

However, by 2016, Alexis had become somewhat disconnected with the path of the music and scene he was involved in. It took a long time to put together what was wrong, but what followed was a three year path to this point now of launching PHS.

A return to and playing vinyl at the end of 2016 was the first step to finding his love again and feeling good about the music. This was followed by a halt to gigs where the music expected from him was different from what he wanted to play and a feeling of disconnect from the crowd. Then came the gradual move away from constant social media output.

The final and most important part of this transition was going back to making music simply without any thought of where it can fit or who can play it, or what label it will go into. In essence this is a return to how Alexis started - making music solely from the feeling inside.

And so PHS returns to some of that more sexy, emotive house music that Alexis was originally known for, but with a fresh sound for the new decade.

Paella Hair Sex is set to be a representation of the music Alexis loves, both his own and other artists.

The first EP: PHS001 – Digital Music Nearly Killed Me kicks off with the main room groover ‘Respect & Belief’ . A jazz-infused bass line underpins chunky rolling beats, punctuated with vocal samples calling for unity and love and laden with floating classical pianos and warm pads. A definite party banger !
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The second A side track “Sex Appeal” references back to Alexis’ original signature House sound. An emotive and sexy track bound to get temperatures rising on the dance floor .

Flip to the B-side and find the after party brother of Respect & Belief - ‘Liberty’. A seminal minute long speech paves the way to the single breakdown moment of the track when lush Jupiter-8 chords make way for an epic moment as the beats drop back in. A unique piece of minimalistic House music for the after hours .

The bonus track, House of Chorge. ends the EP with a bang. An upbeat cheeky groove that stays in your head long after the turntable stops spinning. But who is Chorge.?

A member of popular techno trio Agents of Time, Italian artist Fedele goes solo AF on his Turbo debut, No Mercy for Beginners. Against the backdrop of a nightmare international tour experience, Fedele channeled his negative feelings away from people and into creating darkly euromotional dancefloor catharsis. Try it sometime.

Sharp-eared lovers of listening may notice that lead track “Riot Revolte” purloins the loin jewels (the street-tough vocals) from Tiga’s 2004 classic, “Pleasure from the Bass.” DJ Hell noticed the shit out of this, introducing a mutant variation on the PFTB baseline into his lurid after-hours remix. Moreover, the entire EP recalls the legendary run of killer electro records that kicked off what many, many people refer to as Turbo’s Silver Age in the early-mid 2000s. This may be utterly meaningless, or it may herald the coming era of compressed cyclical time that will dictate dance music taste in the 2020s with the sort of mathematical precision rarely found outside pie chart software. Either way, you heard it here first.

Nederland Acid Tribe killer.... With living sounds inna superb forest of beats... Music to drive fast...

To mark the tenth anniversary of the release of "I’m New Here" - the thirteenth, and last studio album from the legendary US musician, poet, - and author 'Gil Scott-Heron'. XL-Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven.

Titled "We’re New Again", the album will be released on 7th of February 2020; exactly a decade after the release of Scott-Heron’s original Richard Russell-produced recording.

It’s set to follow in the footsteps of Jamie xx’s highly acclaimed 2011 remix album We’re New Here and will be McCraven’s first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings.

One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a "Chicago-based drummer, producer and beat maker, who has quietly become one of the best arguments for jazz’s vitality".

Soul Jazz Records new ‘Apala: Apala Groups in Nigeria 1964-69’ is the first ever collection of Apala music ever to be released outside of Nigeria. The album focusses on a wide selection of recordings made in Nigeria in the 1960's, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful
musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and
techniques of the Yoruba of Nigeria.

The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in
Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.

Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural
rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960. Apala music was popular and widely accepted in Nigeria due to its philosophical and profound
lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.

He's one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also
included on this collection contextualising the music of Apala.

These recordings were originally made and released locally by Decca and EMI Records as well as a variety of independent labels in Nigeria and have never been released outside of the country before. Soul Jazz Records are releasing this album as a deluxe double gatefold vinyl (download code), CD, slipcase and booklet, both containing full text and photography.

Industrial Techno Killer !! Vefer !!!

Joe Lewandowski started his career by mixing in NYC raves and parties. Back in France, he became resident of Parisian club Garage. He also made a name of himself as a producer by releasing promising EPs that combined house with jazz, afro and italo disco, to create his own musical identity. With this new opus “Egosexual” for Skylax records, Joe Lewandowski confirms his talent by delivering a banger EP that mixes Soulful vocals (He invites the incredible singer Tyve on ‘Egotrippin’ ) with killer grooves and vintage synths to offer modern house anthems. Vinyl ONLY.



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Disco Bits are back with a couple of late night dancefloor sureshots from top notch Japanese producer Kazahaya!

Side A - High Enough
Kazahaya welds together Ain't No Mountain with Let Me Down Easy for an intense high tempo disco workout.
The track builds and builds with a killer vocal from a soul legend. There is even a heavy drums breakdown towards the end of the track. Mashups don't get better than this.

Side B - Forever
A midtempo soul workout on the flip, perfect end of night fodder. Kazahaya takes a slept on Casablanca classic and moulds it into a heavy modern soul wonder.

To mark the tenth anniversary of the release of I’m New Here , the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. Titled We’re New Again , the album will be released on 7th February 2020; exactly a decade after the release of Scott-Heron’s original Richard Russell-produced recording. It’s set to follow in the footsteps of Jamie xx’s highly acclaimed 2011 remix album We’re New Here and will be McCraven’s first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings . One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a "Chicago-based drummer, producer and beat maker, who has quietly become one of the best arguments for jazz’s vitality".

The 36 track 2CD album comes with 50-page book featuring text, biographies and photography. It also comes in a limited run two volume double-vinyl super-loud super-heavy gatefold sleeve editions. Compiled by Stuart Baker (Soul Jazz Records) and sleevenotes biographies by Jonny Trunk (Trunk Records).

TV Sound and Image features British composers who worked in television, film and music libraries the second half of the 20th century.

Aside from John Barry, whose work on the James Bond films made him a household name, or Tony Hatch and Laurie Johnson, the majority of composers featured here - Simon Park, Keith Mansfield, Reg Tilsley, Syd Dale, Keith Papworth – remain relatively unknown. And yet ironically they have created some of the most recognisable songs in British popular culture, their music widely disseminated on television.

A quick role call of these would include Neil Richardson (who composed the theme tune to Mastermind) and Barry Stoller (who wrote Match of the Day). The Simon Park Orchestra’s Eye Level, theme song to the BBC series Van der Valk, reached number one in 1973. CCS’s cover of Led Zeppelin’s Whole Lotta Love was the theme tune to Top of the Pops. And so on.

This album is not however a stroll through the TV memories of the mind, but an exploration of the serious contribution that these creative musicians have on the landscape of popular music in Britain.

Here then is a guide to the amazing music of many of the composers (both well-known and obscure) responsible for some of the most widely known music ever to come out of Britain in the second-half of the 20th century.

Reviews:

Quietus

Der Spiegel: "spannende Klänge ... die oft funky und immer lässig klingen"

"thrilling sounds.... often funky and always chilled"

New Zealand Herald: ***** "Every track is a killer... This is more than just music to mooch too."

Irish Times: **** "downright funky"

Volkskrant: "Ze leverden spanning op maat, die onbekende makers van fenomenale Britse film en tv-muziek. Door de cd TV Sound and Image opnieuw in de aandacht"

Evening Standard: "deeply funky"

Uncut Magazine "excellent 36 track set ... welcome additions to your collection"

Q Magazine: ****

Soul Jazz Records new release takes us on a serious road trip into the North-West region of the USA, 1986-97, to explore the amazing lost and forgotten sounds of the Grunge era.

This Deluxe massive 28-track Double CD with 44-page outsize booklet features extensive text, band features and interviews, exclusive photos. Also Worldwide digital release + Ltd.Edition Two seperate double-vinyl albums with full notes and free download code.

The underground music scene of the North-west of America arose from the early 1980's, strung out in isolated towns across the vast state of Washington. In its early days bands who showed an allegiance to their roots of punk. Yet, by 1991,Nirvana, the biggest band in the world, had been born from this community of outsiders.

This compilation features some of the many divergent bands who emerged out of the North-west during this era. Intensely researched and documented this album features many bands who have now disappeared from history after releasing maybe just a couple of singles, or an album, or even never making it onto vinyl – alongside some bands that continue to this day.

Perhaps most fascinating is the wide-ranging styles that these grunge bands incorporated - from punk to metal, experimental and more.

All Roads lead to Nirvana: 17 of the bands featured here played alongside Nirvana in the period 1987 to 93. All 23 bands featured feature members who shared a stage with Nirvana. Jack Endino (The Ones) produced 37 Nirvana songs. Dave Foster (Helltrout) was Nirvana's 3rd drummer. Bundle of Hiss became TAD who played more gigs with Nirvana than any other band.

With fantastically in-depth sleevenotes, interviews with most of the bands, exclusive photography and all sonically remastered tracks this is a comprehensive double CD (and 2 volumes of 2x12" vinyl releases) bringing together the hidden, lost and forgotten sounds of the North-west grunge era.

Reviews & Articles: Seattle Times feature here. Irish Times here. Read article by compiler Nick Soulsby in Nirvana Legacy here Read second article by the compiler here. Read article about the artwork here.

Introducing ACID JAZZ’s first release of 2020 coming out on our newest subsidiary label Fingier Records, dedicated exclusively to the Soul, R&B, Boogaloo and Raw Funk productions from the Argentinean producer Kevin Fingier. After many years DJing and promoting Soul & Mod culture in Argentina, the co-founder of the Buenos Aires Soul Club decided to give a twist to his versatile production career and start to produce Soul and R&B recordings.

To achieve this, he gathered together a house band called The Kevin Fingier Collective and experimented with recording techniques used fifty years ago to get an analogue sound that’ll take you to straight to the 60s. For the first limited edition single Kevin brought back the legendary Northern Soul singer Gerri Granger, to sing on the A-side track Don't Wanna Cry No More - a Soul/Funk tune with a huge R&B influence. On the flip side there’s a killer Mod Jazz instrumental called Sunglasses After Dark Part 1.

'WRWTFWW Records' is insanely excited to announce the first ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). The limited edition LP boasts 16 superb tracks and is housed in a special glow in the dark sleeve.

"Tom Raybould’s Music For The Machine Is Amazing" - Bloody Disgusting.

Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010's, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film.

Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to it's tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synthwave to recontextualize and upgrade the classic 80's sci-fi movie score template, holding it's own against mammoth soundtracks like Blade Runner or The Terminator. Truly.

Cold with a touch of humanity like the perfect machine, Tom Raybould’s movie score won the BAFTA Cymru award for Best Original Music in 2013.

A heady mix of digi killers, digital roots, dub, electro, and unlikely vocoder magic, Love Lives Forever is the first ever compilation of Miami reggae-notreggae diva Dhaima. The record gathers a collection of the original Natty Queen’s seminal ’80s and ’90s recordings, including her big 1982 chune “Reggae On Sunset,” the Ninakupenda-issued “Don’t Feel No Way,” the previously unreleased “Loving You Is My Thing,” and “Surrender”—the last song recorded before her untimely death in 2000. Pressed loud on vinyl in a long-playing format to mash up your home speakerbox.

'Light Touches Records' is devoted to shed a new light to hot rarities, unknown grooves as well as forgotten classics. The new 12” brings some sunny vibes in the middle of the winter with three hot smoking tunes, from the killer clavinet-driven groove of “Hustler”, to the uptempo soulful disco roller of “Just a Little time”. To round up the edges, “Everything” is a smooth jazzy stepper. ...All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 2 is: Fakin’ Jax Remix (Inst) B/W Shaky Dog (Inst) 2 Unreleased instrumentals of “Fakin’ Jax” remix, taken from “Put A Beat To Rhime”, and “Shaky Dog“ Instrumental from Ghostface Killah’s “Fishscale” album. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set.

The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK.

After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

Hotly-tipped Glasgow duo Manakinz are next up on Jasper James’ budding imprint Mitchell Street Records with a vigorous three-track dispatch.

Behind the duo is Jasper’s father and house music legend, James ‘Harri’ Harrigan, and venerable selector Affi Koman. Both are steeped in Glasgow’s rich musical history, with Harri being one of the legendary faces behind Scottish institution Sub Club with its world-renowned flagship residency Subculture, and Affi Koman is known for his lauded Sunday Circus residency.

Established in late 2018, the duo’s productions have bagged support from a long list of respected artists, including Andrew Weatherall, The Black Madonna, Levon Vincent, Ashley Beadle and Bill Brewster.

“A week after I got these tracks, I dropped the A-side ‘Snakehips’ at a Boiler Room gig and the reaction was amazing. Approval doesn’t get much better than spinning it through a road test and I’m looking forward to kicking 2020 off with this killer EP. ” – Jasper James

The EP leads with ‘Snakehips’ a frisky peak-time brew loaded with propellant, tribalised drums and a soulful vocal cut set to stir. On the B side, ‘Yamaha Rumba’ runs with the headiness, amplifying the atmosphere with a maelstrom of synths and skittering keys, and it hits the spot with the release of a lustful, lascivious female vocal. ‘Partizan’ completes the package, giving listeners a robust, heavyweight club track.

Medicine used to be, we expected, good for us. Albeit with added sugar. Now medicine is a huge problem in itself, with vast companies caught mis-selling dangerous drugs. It’s one of the biggest scandals ever. How on earth did we get here? Who did this?

The Imbeciles are on the case.

“It’s about the dark side of prescription ‘medicines’. Oxy, Xanax, Ambien, all that. Big pharma is pushing these addictive ‘medicines’ that we don’t actually need, to desensitise / numb / kill. All for profit,” says Butch Dante.

A new classic from The Imbeciles. They know. And they made a video. Watch it here.

Now they’ve been remixed. By these people:

C.A.R.:
Impossible to categorise, and all the better for it - London based, Franco-Canadian, C.A.R., flirts with elements of new wave, cold wave, synth-pop, post punk and off-kilter disco; and without doubt wields some of the most satisfyingly other-worldly melodies and synth lines around.

Ryan James Ford:
One of the most exciting underground techno producers on the block - Ryan doesn’t constrain himself to any one rhythm, aesthetic and motif, but can always be found to be hitting the listener with thick atmosphere, dark melodies and an upfront, experimental attitude.

Legowelt:
A true pioneer of left field house and disco, this Dutch master draws from disco, italo, dub, dancehall, techno and many more sonic pools to create his wonderfully engaging, but always envelope pushing sound.

D. Carbone is back on its homonymous imprint with a Theme Ep 'Back To The Empire Of Hardcore'. After the 2016 Ravers EP, here the artist make a second call to push a movement is coming back on all its power but in a modern key. The EP figure 2 remixes One from the Queen of Techno 'VTSS' and one other from the Hardcore master '14Anger'.

On The A1 the entitled track is a new hardcore wave gem, a robotic voice singing in a subdol way back to empire of Hardcore, lead and sirens create the atmospheres over a marching beat. This track aims to be a classic for the New Hardcore wave.

A2 presents VTSS remix. The queen of Techno after it's debut on REPITCH Recordings with the killer Identity Process EP and the amazing Atlantyda on Monnom Black is ready to show a Techno/EBM remix with its remark bassline, a strong kick and massive voice textures, make it an instant classic!

B1 is the time of French Raver '14Anger' its remix is a mesmerizing of Power and its Hardcore roots are shaped at its best. Percussive synth sequence chosen as the main groove, Melodic bassline is the main focus here till the amazing lead comes in to destroy every dance floor!

To Close, The Vinyl is 'Raver Killer' a powerful doom Techno track. This track is not for the fainted hearts, inspired to the 90's doom rave with modern touch Powerful kick, distorted model D's bassline, hi-pitched voices, and resonant percussions make it a big room track that can't miss in your bag and perfect choice to close this vinyl.

As Digital Bonus ' The Rhythm of Acidcore' is an Hypnotic Acid Banger. Model D bass and 303 acid sequence are the main focus here, accompanied by a smashing beat is the perfect track to stand along this collector EP.

Medlay, new tunes, whatever... Hardcore, speedcore, whatever... A blaster !

This split cassette by Unconscious (Italy) & HKKPTR (Germany) includes 8 tracks of uncompromising & state of the art body-techno floor killers. Both acts are emerging at the forefront of a new breed of underground stalwart producers. Edition of 100 C-47 tapes with download code attached to the J-card. Released by X-IMG.

Tracy Lynn Curry, better known by his stage name The D.O.C., is an American rapper, songwriter, and record producer, who released his second studio album Helter Skelter in 1996.
After a 1989 car crash accident which damaged his vocal cords, this was his comeback album. His voice had changed a lot, but with a fantastic live band the gangsta rap comes alive. His lyrics are still great and worthwhile to listen to.