Suche:dj bass

Hailing from Rotterdam, DJ Crisps returns to Time Is Now with another hot and heavy four tracker, teasing experimental genre play on the newest addition to his fast-growing discography. This exciting collection of modern garage reinventions is not to be missed.

No Dirty Money EP showcases DJ Crisps' clever production style, a mix of drama and fun; "Don't Need No Dirty Money" kicks the record off with staccato minimalist percs that have a metallic edge, effervescent vocal samples contrasting the momentous sub bass. "Dynamic Reflections" creates an icier soundscape, juxtaposed arpeggios echoing each other across a calm, deep bassline and cavernous pads - gentle, but still alive and kicking.

Lazy sax and ghostly pads open the expansive B side; "Release the Pain" then flips the energy with a Niche style bassline and cheeky garage synths. The jazz samples remain to create a real fusion sound. To end, "Sweet Melodies" pairs dirty garage with funk n soul, chopped up vocals and a classic James Brown sample making this high energy track even more vibrant - a joyous end to the EP

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

German DJ and producer Terrorrythmus returns with D3l3t3, a bass, gabber and hybrid rave inspired fire red five-tracker. It's time to get vacced and waxxed!

Edition of 250pcs.

If you don't yet know, Flexi is a record store and music label based in Italy and run by Simone and Lorenzo.

Over the years, Flexi have gained both the respect and recognition of the music scene, earned by almost forty years of experience in the world of music and with the support of many DJs, artists and fans

Finally Flexi Cuts returns with a brand new release pressed on a “raw transparent" vinyl called “Velvet Series” no 2 – six quality tracks from six superb artists for an electronic journey that makes you fly over “velvet”.

Selection of the works wasn't easy; the tracks were chosen tryin' to maintain a high quality level, such as the oldest (v. series part 1) which have been so appreciated out there.

The A side opening is by Bologna-based Brine, with “YR Body” that provides a Juno-ish bassline with a catchy vocal and a jazzy mood.

Then we have “Benerice" from Daughters and Sons (aka the master Luca Fronza) who throws us into a beautiful Detroit-inspired analog jam.

This side ends with our very own Sicily man Manuold with fresh Italo-House vibes absolutely made for the dance floor.

On the B side, welcome back the veterans Tengrams (formerly the Piatto brothers from N.O.I.A Records) with the outstanding "Rapid Eye Movement"… travelling across retro-future influences and 808 patterns… under a dystopian-sci-fi movie theme.

B2 track is by the Calma duo who plays with a few elements to build a neverending techno climax...did you recognise the sample?

The last track is a sort of relaxing downtempo sunset closure complete with bells, from the California producer Gloved Hands, a name that speaks for itself.

DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017 – 2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics.

LNS from Calgary, Canada, is rooted in braindance, electro and acid. Releasing 12inches on both her self-titled imprint LNS and Sotofett’s Wania - LNS, whilst in the studio, has often pointed out “the lacking blend of dub and electro in dance music”.
DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels, without forgetting his afro, dub and jazz releases on Honest Jon's London.
Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of K.O. by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS & DJ Sotofett take control with El Dubbing, evoking an effect-heavy demeanour, typical of the Sex Tags Mania soundworld that DJ Sotofett is responsible for, this time rubbing up against solid electrified rhythms. The hypnotic moods carry over to Dúnn Dubbing's deep delays, freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side-A with sparse rhythms to perfection.
A meaner turn introduces Side-B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. Vitri-Oil exposes a tumbling sound design, fog-lit chords of material fragility and nosedives - with an alive mix that wallows and grows in equal measures. The side closes with Shim, a classic drift between house and techno releasing sensual euphoria with the albums first big surprise – grand strings.

“LNS wanted to sell her TR-606, while my reply was for us to make a track with the 606 sounding so fresh that she'd never even think about selling it again” Sotofett states. Side-C proves the artists to be some of the most singular producers around with album centrepiece The 606. Clocking in over 10 minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove.

Side-D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. Synchronic Bass Blort is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On Sputtering the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience.
DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. Their sound is free and live, simultaneously wondrous and sharp.

Tony Scott (born Anthony Joseph Sciacca June 17, 1921 – March 28, 2007) was an American jazz clarinetist and arranger with an interest in folk music around the world. For most of his career he was held in high esteem in new-age music circles because of his involvement in music linked to Asian cultures and to meditation. Tony performed with many star as Billie Holiday, Sarah Vaughan and Harry Belafonte and before moving to Italy in the early ‘70’s he just cut two sought after masterpiece moving forward from his early idea of bop and cool jazz. In particular ‘Djanger Bali’ (1967 Saba) - recorded with The Indonesian All Stars - and the self titled Tony Scott (1968 Verve) - featuring Richard Davis on bass, John Berberian on oud and Attila Zoller on guitar – set the pace for a revolution in terms. This set recorded in Africa around the mid 90’s is a pure rhythm festival pushing the boundaries of his afro fusion agenda

Hong Kong based hypno-tropicalia duo Blood Wine or Honey are set to release their second album 'DTx2' on 30th June 2021. Made up of seasoned multi-instrumentalists James Banbury (synths, bass, percussion, cello) and Joseph von Hess (vocals, clarinet, sax, percussion), they create a heaving, heady brew of brazen sax themes, lo-fi/hi-tech electronics, densely layered cello inflections and motorik drums.

These explorations start with the dance-floor then go above and beyond, taking notes from post-punk and tropical polyrhythms, always anchored by the bass weight of the sound system. Their distinctive sound is created in the industrial warehouses and hidden rural settlements of Hong Kong, surrounded by the low-end throb of heavy machinery, the lingering scent of hand sanitiser and the humidity of the South China Sea.

Written and recorded during 2020-21, new album 'DTx2' looks ahead to an uncertain future, drawing deep on their experiences and influences and welcoming a host of co-conspirators.

Jean Daval, aka Preservation (credits include Yasiin Bey fka Mos Def, MF Doom, RZA, GZA, Raekwon, KRS-One, Aesop Rock), provided truffle-hunted beats, synths and basses, which, when put through the BWoH mangle, emerged as 'Messenger'.

Superstar and old friend of the band KT Tunstall came to work with BWoH after they contributed a DJ mix for her lockdown 'KTRave' on Instagram. 'Attraction' was the result. Wonky bass, found-bounce beats and Buddy Rich drums smashed out by Tim Weller (Marc Almond, Future Sound of London, Goldfrapp, The Chemical Brothers, David Axelrod) resulted in a bonkers production with passionate vocals and layers of harmony.

'I Shall Rush Out As I Am' is a collaboration with legendary pop provocateur Paul Morley and Janice Lau of Hong Kong band David Boring. The track is based on the words and the spirit of sci-fi writer, satirist, literary critic and radical feminist Joanna Russ and took shape quickly, with tinges of A Certain Ratio and memories of Suicide, provoking Janice to an authentic scream-of-consciousness delivery.

Multi-talented London singer, musician and composer Kamal (Neighbourhood Recordings) took time away from being the Next Big Thing to transform 'Testing Time' with funk-edged keys. A key figure in the extraordinary '90s Hong Kong music scene, Zoë Brewster contributed vocals.

Roughly divided, the album's first set of songs make relatively short statements, punchily self-contained with common threads. The final four tracks, Testing Time, Embers, Embrasure

and Echt Embrace disperse into flights of mantric fantasy, with quicksand time-signature shifts and key-changes emerging into a more introspective zone with a fervent pulse, a shift in energy: stamina over speed.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

A few months ago, Dj Schwa & Name Does Not Matter rumbled through the timbers with their latest EP on RFR Records. For all of you, who like to get physical, we are now offering two Tracks of the digital EP including two brand-new Remixes on Vinyl.

Follow the “Ape King” and jump into the frying acid pan! Straight forward stomping on the beat section, pretty classic when it comes to the bassline. And whilst the 303 is continuously marching towards our cortex, shit kicks in with a nonchalant melody part. Wait, are the old Djax Up days back?

London’s Posthuman is delivering the perfect Remix for “Ape King” qua musical self-definition. His analogue machine park powers the Original with an even deeper drilling bass line, reduces the melody to its essence and nonchalantly sets the groove between classic Chicago and UK Hardcore influences.

“Obsolete” is a true feast for lovers of classic Electro. And despite of the title, all its ingredients are perfectly well balanced. Sounds like Aril Brikha, Nitzer Ebb and Clarence G. (RIP) joined forces in the studio and filtered the essence of one of our favorite genres.

We stay in London. Jerome Hill lays hands on “Obsolete” and proves from the very first second that there is absolutely no space for compromise. This is all about straight Techno and the feeling of being exposed to a stroboscope in a dark basement while the first rays of sunlight are already penetrating through the crack of the door.

With releases on the likes of Nite Grooves, Uzuri, Church and Axe On Wax, DJ Aakmael steps up to the plate for NYC’s Second Hand Records seventh release taking you on a journey through the realms of deep house. Raw, packed with feeling and bursting with musicianship, Aakmael hits with those late night, meditative keys, juiced-up bass lines and MPC-crunched drums to provide three cuts that groove endlessly from dusk till dawn.

Those who pay close attention to DJ Harvey’s sets should already be familiar with NuNorthern Soul’s next single, a fully licensed reissue of a sought-after 1980 promotional seven-inch from legendary Spanish Flamenco singer Manuel Mancheño Peña, better known as El Turronero (‘The Nougat’).

Both ‘Las Penas’ and ‘Si Yo Volviera A Nacer’ have long been secret weapons in the sets of dusty-fingered Balearic DJs, with Harvey regularly dropping the tracks during his sessions at Pikes Hotel on the White Isle.

Both tracks first appeared on Pena’s 1980 album New Hondo, a set that updated the then veteran Flamenco artist’s sound for the disco era. Whereas most of his previous albums were more traditional Flamenco affairs, New Hondo combined his throaty, effervescent Flamenco singing style with the driving grooves, swooping orchestration and spacey synthesizer sounds of European disco.

To promote the album, Spanish label DB Belter pressed up a promotional “45” featuring two of the most club-friendly cuts on the album. It’s this release that is being reissued for the very first time by NuNorthern Soul.

A-side ‘Las Penas’ is undoubtedly an off-kilter, late-night disco classic. Built around a flanged, action-packed disco-funk bassline, metronomic beats. soaring and layered female backing vocals, intergalactic synth sounds and stirring strings, the track steps up a level when ‘El Turronero’ takes to the microphone to belt out an infectious, energetic vocal in his trademark Flamenco style. It’s the kind of cut that’s as haunting and intoxicating as it is funky and floor friendly.

Flipside ‘Si You Volviera A Nacer’, another of New Hendo’s most sought-after tracks, is another unique and righteous concoction. Looser, groovier and warmer in tone, it sees another sublime, Flamenco style lead vocal from Pena accompanied by even funkier bass, spiralling ’70s synthesizer sounds, sweaty drums and some seriously exotic instrumental flourishes (think sitar and kalimba). It’s every bit as alluring as the more driving A-side, and equally as playable.

Both tracks may be unusual in comparison to the artist’s other releases, but they expertly capture a moment in time, when disco dominated dancefloors all over the world and inspired even the most traditional and historic of European musical styles. Quite a number of flamenco-disco records were made in Spain during the late ’70s and early ’80s, but very few are quite as magical as these.

Cult UK producer Iglew returns with his highly anticipated sophomore record after a six year hiatus, finding a perfect home on Facta and K-LONE’s label, Wisdom Teeth. Iglew first burst through during the instrumental grime boom of the mid-‘10s, debuting on Mr Mitch’s Gobstopper imprint with the now-verified classic ‘Urban Myth’ EP. A run of massive edits, remixes, radio rips, plus a feature on legendary label Boxed followed - andthen he went into hiding. Six years on, his follow-up EP expands and consolidates his sound into something truly unique and distinct. His central talents - glacial synth work, timeless melodies, pristine sound design - are all on show here in abundance, but twisted to fit new, refreshed patterns and structures.

‘Caffeine Dream’ is mutant UK techno that offsets distorted bass and glitching synths against warm chords and a noodling melody. ‘Gold’ is cool and stepping, sitting somewhere between early Night Slugs and the refracteddeep house of DJ Python. Title track ‘Light Armour’ is the EP’s understated climax - a lowlit and psychedelic take on modern pop, sounding something like a Charli XCX record A&R’d by the Freerotation crew. To close, ‘Microfunk Lament’ and ‘Hakwsworth Woods’ lean into microhouse and Reich-school minimalism, putting Iglew’s immense knack for melody and soul on full display.

Wayout Records head honcho, Manchester DJ and producer James Kumo aka K.Mo, takes the reins for their next release ‘Space Funk EP’, featuring man of the moment Byron The Aquarius.

The deep house groove of title track ‘Space Funk’ has Byron on keys, laying down his trademark synth and bassline stabs courtesy of his Prophet 6. The warm and soulful vibes sit alongside driving drum patterns and additional live percussion by Mauskovic Dance Band member Chris Bruining.

The B side opens with ‘Moon Light Shuffle’, delivering a captivating bass line with synth lead melodies accenting the organic solo to die for from the super talented Tim Jules.

Close ‘Inner Soul’ is full of sparkle with heady pads, luscious piano chords again from Tim Jules, elevating this very credible record to a whole other level.

Wild One: Think funky, flowing rap vocals. Warm heavy drums, funky horn melodies and dirty basslines. Think Jurassic Five and 90’s Boom Bap Hip Hop! What makes “Wild One” different is the unique production style of DJ X-Rated. Using rare vintage samplers and animal nature recordings in the percussion of this record.
Andy Cooper is an accomplished songwriter, performer, producer and arranger who hails from and resides in Long Beach, California. Andy helped form and produce the Hip-Hop trio Ugly Duckling which, over the span of 20 years, released six albums while frequently touring the globe, their success has taken them to over 30 countries. Recently, Andy wrote 16 songs for ‘Recorded In Hollywood’, a musical about the famous, Los Angeles record shop ‘Dolphins of Hollywood’.

Reissued for the first time.
Double vinyl that includes their critically acclaimed and highly sought after debut album ‘Glasshouse’ from 1985 and the 1986 follow up ‘Simplicity’. Presented in a gatefold sleeve adorned with the artwork from the Glasshouse EP, which features in the Prints & Drawings collection at the Victoria & Albert Museum.
With printed inner sleeves and a download code for all 31 tracks on the double CD. Including all tracks from the singles and EP’s plus unreleased recordings
Pressed on colour vinyl. Disc 1 is Purple. Disc 2 is Gold.

Formed in Barnsley in 1981. Party Day, with their bass led rhythms and sharp powerful drums gigged extensively and released their debut single ‘Row The Boat Ashore’ in 1983.
Their brand of Post-Punk Indie Rock with Gothic overtones soon got the attention of DJ John Peel and sold out almost immediately.
The follow up single ‘Spider’ from 1984 again received extensive airplay from John Peel and received rave reviews from the national music press. “Mouthy pellets of malevolence” NME “Excellent punk junk howl” Sounds.
Their self released debut album ‘Glasshouse’ was released in 1985 to glowing reviews and has gained popularity over the years. Now very collectable, it exchanges hands for big money on the second hand market.
The Glasshouse EP followed later in 85 heralding a more commercial approach and widening appeal.
Their second album ‘Simplicity’ was released in 1986
“Proving that they’ve grasped more than an inspirational nettle, the recurrent throb finds their trousers igniting during the quite punctilious rawk of the title track, the urgent prodding of ‘Career’, which reminded me uncomfortably of early Killing Joke and the attractive, though slightly over-wrought black sheep, ‘Glorious Days’, which could have brought a lump to Mario Lanza’s trousers.”
Party Day Split in 1987.

Adopted Berliner hailing originally from the US, Kyle Geiger is not just an experienced DJ and producer, having already released on staple techno imprints Soma, Perc Trax and Droid, but also a budding production teacher via his Twitch livestream started during the first lockdown of 2020. When he’s not sharing knowledge about DAWs and shedding light on diverse voices in the music scenes, he also runs his labels Cubero and Front Left.

Across three techno excursions, collectively dubbed 'Bellhouse' and numbered 1 to 3, Kyle uses recurrent themes and motifs to craft intricate techno rollers in different forms. 'Bellhouse 1' stands out as a peak time dancefloor track, complete with heavy-hitting percussion, a dramatic lead and scintillating hi hats. 'Bellhouse 2' on the other hand comes off as a more subtle, restrained groove, whose nervousness can keep the energy high, while the third track can be found more on the dubby side, with metallic synths and mechanical whirs atop a steadily evolving marching bass. Hosts Rebar take on 'Bellhouse 2' giving it their own spin - distilling its fidgety atmosphere into a more anchored, mind-bending slow burner.

London-based musician Harriet Zoe Pittard aka Zoee has been described as an artist who writes 'personal pop for people who don't fit in' (Huck Magazine). Previously, Zoee has released singles through Ryan Hemworth's 'Secret Songs' imprint and Vegyn's label Plz Make It Ruins, as well as guesting as a vocalist on tracks with Hot Chip's Joe Goddard and with hyper-pop collective PC Music.Over the past two years Zoee has taken some time to nurture her voice and her sound. Her debut album 'Flaw Flower' is due on June 25th. 'Flaw Flower' is an honest and vulnerable glimpse into Zoee's interior world, a world she creates through marrying her real-life phone notes with imagery taken from modern works of literature such as "The Flowering Corpse" by Djuna Barnes, Sylvia Plath's "A Winter Ship" and Maggie Nelson's "Bluets". Through these 11 new songs, Zoee delves deep into her own emotional life, combining aspects of the everyday with the surreal in order to uncover the beauty found in being flawed. The record nods to the avant pop of the 80s, an era that Zoee has always been drawn to thanks to the expressive and trailblazing music of women including Anne Clark, Joan Armatrading, Cyndi Lauper, Rose McDowall and Anna Domino. The album is characterised by a mix of hi-fi and lo-fi instrumentation. 'The Loft' features a free jazz solo from acclaimed experimental saxophonist Ben Vince alongside stock GarageBand synths. 'Host' combines home demo backing vocals with an elaborate baby grand piano solo. Zoee sources foley sounds from YouTube and pulls from her own domestic field recordings, such as a microwave buzzing in 'Microwave' and a shower running in 'Evening Primrose', often using these sounds as the starting point for the songs. Maintaining intimate bedroom elements whilst developing a more expansive band sound, felt integral to the project, since that's where Zoee's writing process often starts, sat on her bed with her laptop and midi keyboard. Writing for the album began in October 2018 when Zoee started working closely again with friend and long-term musical collaborator Rowan Martin. As the material for the record began to take shape the writing and recording process also evolved with the addition of bassist Kyrone Oak and keys player Laura Norman, as well as contributions from Ben Vince and London pop artist Saint Torrente. "I feel like the songs on this album took me deeper into myself, the sad song that I thought was about a boy is still about that but it's also about loss, about self-determination, about not losing hope, about memory, about domesticity, about detachment, about my dad, about my mum, about change, about feeling incredibly alone, about growing up."

Germany’s Tilman inaugurates his new imprint Pleasant
Systems this June with the ‘Adventures’ EP, featuring
collaborations with Will Buck and Rhode & Brown. Mainz,
Germany based producer and DJ Tilman has been dropping
his twist on contemporary house over the past decade on
labels such as Shall Not Fade, Life Is For Living and Quality
Vibes as well as his own Fine imprint, run in collaboration
with Johannes Albert. Here though, Tilman marks a new
beginning with the launch of Pleasant Systems, a new
imprint designed to shine a light on vintage inspired house
sounds from both himself and friends. Up ¦rst is ‘What’s
Mine Is Mine’, a collaboration with Brooklyn’s Will Buck which
lays down an amalgamation of airy synth pads, choppy bass
stabs, bright piano lines and enchanting §ute like melodies
atop a swinging drum groove. ‘Strawberry Fields’ follows,
stripping things back to shu©ed percussion, billowing
ethereal textures and wandering sub bass tones while
§uttering brass tones and resonant leads ebb and §ow
within. ‘Velvet Park’ opens the §ip side, this time joining
forces with Rhode & Brown, embracing a classic sound with
raw crunchy drums, delayed piano chords, bumpy bass
stabs, cinematic strings and brass hooks throughout. ‘Lovin'’
then rounds out the release, dropping the tempo, featuring
the voice of Tilman himself and laying focus on off-kilter
organic percussion, twinkling resonant tones, eighties tinged

DJ Woody teams up with the incredible champion beatboxer Ball-Zee to create the ‘Box Cutter Mini’ 7”. Made up of 100% original new sounds, this record contains skip-proof vocal phrases, noises, sound effects and beatbox drums perfect for scratching or beat-juggling.
Side A is programmed at 133.33 bpm and contains 7 skip-proof loops, 4 phrases containing vocals and effects and 3 drumming phrases.
Side B is programmed at 100 bpm and follows the same format but with 7 different phrases.

Each side ends with a lock groove. 2 copies are a must for the 7” jugglers!

• 100% original sounds and phrases

• Perfect for portablist scratch jams, drumming, beat juggling and production

• 14 skip-proof loops

• 2 lock grooves

• Super loud and deep pressing on black vinyl

MADVILLA steps out on FUSE’s LOCUS imprint for the first time as he reveals his four-track ‘Old Flame’ EP.

London-based, American-born DJ and producer MADVILLA is a name making serious waves within house music at present, with his driving and slick take on the genre via the likes of ANOTR’s No Art, Seb Zito’s Seven Dials and his own Hot Wings imprint welcoming supporters in Jamie Jones, Stacey Pullen and FUSE head-honcho Enzo Siragusa to name just a few. Up next, the surging talent steps out on FUSE sister imprint LOCUS for the very first time, following his recent appearance at their London home of 93 Feet East, as he delivers his four-track ‘Old Flame’ EP this May.

Lead cut ‘So Bad’ kicks things off as crisp drums meet resonant stabs, sweeping melodies and infectious vocal coos, before introducing the spacey soundscapes and hypnotic pads of title track ‘Old Flame’, accented by Shyam P’s tripped-out vocals throughout. Next, ‘Orbit’ takes things up a gear as skipping percussion arrangements go to work beneath spiralling lasers and jacking hats, whilst closing track ‘Takeout’ dives into the afters as rubbery bass licks, hazy synths and rumbling low-ends take listeners on a warping UK-tinged journey through entrancing sounds.

Carrying on a new white label series of killer garage cuts, Bristol's Time Is Now have hand-picked British duo Cortese for their next installment. Expect playful, niche-inspired garage sounds with a unique touch of modernism.

The EP opens with "Abbey Park"; a glistening neo speed-garage track with delicate synth chords dancing over the cavernous slow attack bassline. It purrs into the squelchy bassline style "Where You At", that compliments upbeat piano stabs with autotuned vocals.

"Floaty" uses an iconic Aaliyah vocal chops, dancing around a chunky El-B inspired snare. This one has a melancholic breakdown which is perfect for a dancefloor breather, before the growling bassline is reintroduced to devastating effect. A collaboration with Brighton-based DJ Movement, "Things That Make You Go 'Hmm'" is pure bassline garage energy let loose in a furore of bass patches in a moodier track that still doesn't take itself too seriously. Closing out, "Figure 1" brings a searing synth melody which complements another rolling bassline. The understated drums make excellent use of a syncopated kick pattern whilst diva vocals chime along in the background.

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Suburban Base and Marvellous Cain assemble once again to bring a huge 4 track EP of Original Jungle material.
Marvellous Cain, a producer synonymous with Jungle/DnB and best known for the massive tunes 'The Hitman' and 'Dub Plate Style' has remained a staple in every Junglist DJ's box for over 25 years. His legendary guest appearances on Kool London and his live shows at Boomtown Festival and the Kingston Carnival brought him enough attention to warrant a remix of Bob Marley's 'Jammin' alongside General Levy.

Now Suburban Base is proud to present 'The Dubplate EP', which brings four of the most requested and rarest unreleased Marvellous Cain ‘dubplate only’ tracks together in a single release.

Opening with the never before released VIP remix of 'Dubplate Style' which has only appeared in certain A-List DJ's sets, the EP brings absolute heat from start to finish.

The super rare unreleased gem 'Snapper' brings more fire, with chopped Amen's and deep subs. Only ever promo’d and withdrawn means that its one of the most sought after tracks in Drum & Bass and Jungle, and where those handful of copies have resurfaced they’ve traded for up to £150 on discogs

'Killer' with its familiar ragga influences was again never given a full release only appearing as an album exclusive on the 1995 Telepathy Dub Plate Special project.
And completing the package is 'Giness Punch' which only appeared as bonus tracks of the CD version of Marvellous Cains 1994 album and never got released on the vinyl format of that album.

All of these tracks remained on dubplate and despite the huge demand for a full release remained exclusive to their project usages. None of these mythical tracks have ever had a digital release or full vinyl release… until now… from the vaults of Suburban Base we bring them all together on this killer EP from Marvellous Cain

Marvellous Cain's 'Dubplate EP' will be released on vinyl & digital formats on the 21st May 21 .

Exclusive premieres scheduled in Music is My Sanctuary and Les Yeux Orange and heavy dj support including Groove Armada's Tom Findlay, Blessed Madonna, Erol Alkan, Dino Soccio, Tricky Disco, Leo Zero and many more

"In The Dark", is the new release from Casbah 73. A sensual, sinuous disco affair dealing with touch, human contact and yearning. Three different versions, each a completely different dancefloor proposition and ranging from organic and soulful disco, to hands in the air, uplifting funky horns to searing club banger, all crashing pianos, fierce bass, deep Moog and wild, dubby vocals. It is, in a nutshell, what we need now.

Following on from his recent debut release on Defected/Glitterbox Records, Spanish/US DJ and producer Casbah 73 continues from strength to strength with this, his latest offering, out now on his spiritual home Lovemonk Records.

Recorded locally with a group of top flight musicians and featuring a stellar vocal performance from Angela Gooden.

Bottin teams up with Francisco (Jolly Music, L.U.C.A.) for a drugged-out, sexed up, slo-mo psych-rock aptly titled LOVE LIFE. Old acquaintance Rodion steps in on remix duties, working deranged synth magic in the extended dj version. On the flipside, Argentina's Fernando Pulichino (2020 Soundsystem, Silver City) joins in with his flamboyant bass and shimmering guitars on DELTA TIGRE, an afro-cosmic sound contraption. The IchiSan remix heads up to the sky, all the way to synth heaven. Overall a compelling, throbbing disco-not-disco EP for adventurous djs and dancers in-the-know, who want to hear something different and juicy.

Coinciding with the release of the Curtis Vodka EP on Mutual Intentions, Kurtiss moves from the fringes of the dance floor to the centre of the DJ booth with this lively three-track tool for the same label. The mysterious artist pays tribute to House music's origins as he takes his style of Hi-Def House music into peak time.

Shimmering hi-hats, deep basslines and staccato keys explode on "Every Woman loves Acid" where a disembodied vocal and squelching 303 go line for line in a psychedelic call and response. The obvious Larry Heard tribute, hastens the step of the Chicago classic "Can You Feel It" to accommodate an impatient dance floor, while Sadé croons over a skipping bass line for a live remix of "Never Thought."

Kurtiss homes his efforts in on the groove for this outing in a fitting selection for the whitelabel format. Alongside the official EP, this ushers in a new era for Kurtiss' music, sealing his future in wax, and bringing his music to a bigger audience through the Mutual Intentions franchise.

Kurtiss is a sporadic figure on the House music scene with eccentric habits, whose music is a rarified sonic experience for those who seek it out. Finally, this package re-constitutes the artist's presence in a physical format that will indefinitely become a future apogee on his and the label's discography.

Tibor Szemző is not only a skillful and experienced Hungarian musician but also a media artist with a vast imagination. His last LP, ARBO X – Csoma Grooves, refers to his full-length film A Guest of Life released in 2006, for which he not only directed but also composed all the music. The film is inspired by the life of Alexander Csoma de Körös, a remarkable polyglot from the 19th century who set out from his native Transylvania to central Asia on foot to look for the roots of the Hungarian language. He reached Tibet, dedicated the rest of his life to study of Tibetan manuscripts and finally became the founder of tibetology. After 14 years Tibor Szemző decided to explore the theme further and composed the cinematic performance, Silverbird and the Cyclist, where he as narrator presented the story of Csoma from a different perspective.

ARBO X is the music from this performance and it is based on the soundtrack of the original movie but the material has been restructured and enhanced by new layers. There are fourteen relatively short tracks on the album and each of them has a very specific character, sometimes mysterious as the titles of the tracks themselves. Their arrangement is ingeniously composed. Szemző’s typical bass flute and voice with percussion accompaniment on the first track Axis is a very impressive introduction to the whole album. The following tracks build up a series of colorful sound parables, which are in no way descriptive. Every element, whether it’s a double bass, viola, soprano voice, vocal trio or electronics, fits perfectly within the overall sound fabric with effective timing. Listening to ARBO X one unwittingly concentrates on interweaving details without loosing the sense of the whole. It’s certainly a great benefit, as in previous recordings, that most of the musicians participating in the recording of ARBO X are very familiar with Szemző’s music and his collaboration with some of them goes back to Group 180, a new music ensemble he founded in 1978 and soon earned international acclaim. This most recent album belongs among a long line of recordings that Tibor Szemző has released during his musical career and displays great compositional complexity and a keen sense of a perfectly balanced sound spectrum.

Alexandr Krestovský

Is Joe's 2nd album on Sable Noir recordings. It's a recollection of tunes put on a side throughout the years in the idea to make an album, and englobing all the different aspects possible of some of the music the producer has been up to.

Flow LP takes its influences from triphop to dub techno, ambient music to jungle, soulful drum and bass of course, but also cinematic ambient scores to darkest and percussive 170 joints.

The point here was to be able to tell a story bringing all those different styles all together, and also to deliver an album. Not only for dj's, but also for a full listening purpose. That's why we also released this album, in vinyl, digital, but also in a good old fashioned CD version too.

We hope this cosmic journey through all those styles makes you feel something special. Wherever you listen to it.

Sable noir recordings, but also everything behind this LP is a friend and family co working team, and it is a real pleasure to finally be able to bring this to you now!

Repress

clear blue + black marbled vinyl

For its seventh release, Rave Or Die proudly welcomes Irish superstar Sunil Sharpe. Hailing from Dublin, this producer and DJ has gain within a few years a solid reputation of merciless techno purveyor in Europe with uncompromising re-leases on structures such like On The Hoof, Sheworks, Black Sun Records, Trensmat, Mord, Inner Surface Music, Komisch, Bastardo Electrico, and many more.

Half of the Tinfoil duo along with DeFekt offers to the French Rave label a great slab of bastard-heavy material in his typical signature: hard and fast Loose (Burn Down)' supported by metallic sorities and ruff modulations over a pounding bass line in a pure, raw style.

On the flipside, ROD mastermind Umwelt (Boidae, Shipwrec, New Flesh Records) serves up another milestone of a cabalistic anthem dedicated to industrial ware-houses: mechanic Slave To The Rave' signs an ode to the dancefloor thanks to its implacable and hammering beat. Harder, faster, higher seems to be the motto of Rave Or Die seventh chapter! Rush on it.

Heist welcomes rising star of the French House scene Marina Trench to the roster with a stunning release full of classic house cues across 4 warm & deeply grooving house cuts.
With only a handful of releases on DJ Deep’s Deeply Rooted (2019) and Wolf Music (2020), the young Parisian producer is only just getting started. And as far as starts go: This release on Heist will definitely open some eyes & ears across the house scene.
With her elegant and soulful sound both firmly rooted in classic deep house as it is contemporary, Marina showcases a mature sound that’s rarely seen with emerging producers. With a smart choice of samples, beautiful original vocals and smooth pads,
Marina layers her tracks effortlessly into warm compositions that work just as well in your living room as in any sweaty club.
The aptly titled opening track “Sunrise” is a smooth affair with pads oozing in and out and a faintly recognizable and definitely catchy choice of samples. An open electronic bass gives the track a serious tone, but it’s the melancholic chords that make you doze off reminiscing the days of endless festivals in the sun.
“Carry on” is built around classic house stabs with cleverly layered arpeggios and textures giving the track it’s depth. The main attraction here is the trumpet solo by German wunderkind Christian Altehülshorst. As far as chance meetings go, this is a nice one. Christian (who we met through our mutual friend Lorenz Rhode) was our impromptu trumpet player during a show at La Machine back in 2019, where Marina played alongside us. They got talking and before we knew it, we had this track in our inbox. It’s jazzy deephouse at its finest.
On the B-side, we’ve got “Over there”, where Marina layers here own vocals on an infectious house groove and the closing track “Wake up” featuring the emotive vocals of French Algerian artist Sabrina Bellaouel. The latter track evolves around a LFO’d pad and a minimalist groove, giving the vocals all the space to shine in a track that could easily be the one in your set that sets the room on fire.
As far as label debuts go, we could not have hoped for a better one. We’re sure we’ll get to see a lot more of Marina in the near future and hope she serves as a shining example for other emerging producers.
Enjoy the music,
Maarten & Lars

Brace! Brace! That record is a bouncing riddim, and we never know where it's gonna land: here noise or miami bass, there dark disco and then Balearic. What could be an easy puzzle for diggers always feels true though. Sincere, like the 14-year-old DJ F16 Falcon, going nuts on some American nu hardcore - the back of the record are actual screenshots testifying of that moment. A life ago, DJ F16 Falcon used to be a part of the noise music scene in Paris, releasing music under the Roger mpr moniker. He dropped the complicated stuff for dance music but kept the industrial touch. We all need some dance. And we all need a Sugar Dada.

Buried amongst the gems on the second Claremont Editions compilation was ‘Oui Non’, a collaborative cut that marked the first label appearance of Jpye (real name Jean-Philippe Altier), a French multi-instrumentalist, DJ and producer best known for his work as part of Twonk alongside Leonidas and percussionist/vocalist/guitarist Renato Tonini.

Here Jpye and Tonini join forces once more for their first single on Claremont 56 – a sensual and seductive slab of slow-motion, sun-soaked synth-pop that features more than a few subtle nods to classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’.
Built around squelchy synth bass and a shuffling drum machine rhythm, ‘Cosa Ti Va’ is marked out by glistening, jazz-fired guitar solos, vibrant synthesizer squiggles, rich electric piano chords and echoing, dubbed-out electronics. It’s a pin-sharp but effortlessly laidback number that’s as tactile and loved-up as it as lazy and horizontal.
‘Cosa Ti Va’ is presented in two complimentary versions. On the A-side of the vinyl version you’ll find the full vocal, which boasts Tonini rapping in his native tongue in the manner of Italo-disco’s most eccentric and atmospheric vocalists. With his deep, rich tone and fluid flow, it’s hard not to fall in love with Tonini’s previously unheard rapping. Rounding off the single is the pair’s vocal-free instrumental take, in which Jpye’s stunning guitar motifs and tactile, soft-touch production can be savoured in full.

Canadian born and Naarm (Melbourne) based Jennifer Loveless returns one year on from her debut releaseHard/Soft(Pure Space Records) withWater, a 12" EP presented by Butter Sessions. Bestowing us with five tracks of dystopian dance-floor thump,Wateris a bustling showcase of Jenn's breadth as an artist. Reflecting on the contrast ofWaterwith her first EP, Loveless comments "I wanted a hard contrast to theHard/Softrelease. I always had a plan to release an energetic frivolous fun type EP afterHard/Soft. I had a feeling people might see me as an ambient producer (although I wouldn't really categoriseHard/Softas that), and I guess this EP,Water, is my response".

At its core,Wateris a hyper-charged cetacean maelstrom of electronic music, sampling weddell seals, humpback whales, pacific walruses and water itself.Waterkicks off with the rumbling patter ofOut/Underbefore moving into the unabatingSyzygy(Scissor Me).Jenn stamps a joyful yet skittish imprint ontoECC,while fly on the wallBackroll Buddysits on a sound bed of audio Jenn recorded at parties, capturing friends chattering and an edit of a Whitney Houston earworm she heard a DJ playing, paying ode to a night out.B L U YOUis a charming endnote; a fusion of fluorescent pop and a catchy bassline. The verdict here is thatWaterallows Jennifer Loveless to prove herself truly as a jack of all trades.Watertakes shape as an engrossing palette of bold dance music.

Repress!

"The latest release on Textasy's Berlin-based imprint further mines the interface between electro and jungle. DJ DR-660's EP is, as the name suggests, dedicated to carnal pleasures, whether it's cleverly flipping a familiar spoken word sample into speedy bass-heavy beats and slow jam smoothness on 'Talk 2 Me (Consent)' or combining Miami bass style lewdness and rolling breaks on 'Fuk Me From The Back (Da Bomb Edit)' The latter is especially good, fluidly alternating between rhythms and hip hop samples in a way that will excite dancefloors. Elsewhere, 'Rhodes Rec' has the kind of smokey keys you could expect in an ambient d&b number, but riding speedy juke/ghettotech drums and another rude vocal. The whole EP is fire. 9/10' - DJ MAG (words by Ben Murphy)

Kalita are proud to announce the first ever official re-release of Mpharanyana & The Peddler's 1979 South African disco and funk recordings 'Disco' and 'Freak Out With Botsotso', backed by a devastating extended edit of 'Disco' courtesy of Amsterdam-based DJ and producer Jamie 3:26. Cut on a loud 12" single and accompanied by an extended edit of 'Disco' courtesy of Jamie 3:26, this truly is another no-brainer from the Kalita camp.

Born on 15th November 1949 in Kattlehong, South Africa, Jacob ‘Mpharanyana’ Radebe was one of South Africa’s greatest ever musicians, releasing a canon of legendary soul, jazz and disco albums before his untimely death in August 1979 at the age of just twenty-nine.

Here, Kalita select his highly sought-after disco and funk recordings ‘Disco’ and ‘Freak Out With Botsotso’, both selected from his 1979 invisible final album, ‘Hela Ngwanana’, re-releasing them for the first time in forty years. Including Paul Simon and Herbie Hancock session musician Bakithi Kumalo on bass and Themba Mokena of Dick Khoza ‘Chapita’ fame on lead guitar, the recordings feature some of the country’s top contemporary musicians joining forces to glorious effect.

With the original album currently fetching eye-watering prices on the rare occasion that they turn up for sale, the time is now ripe to share this masterpiece with the world once more.

After a long wait, and restructure of our releases due to The Pandemic, we decided that our next EP had to represent the times that we miss on the dancefloor as well as the glimmer of hope that dance music has given us through these surreal times.

Hardt Antoine steps up for his second independent Reculture release with two originals.

‘Tonight’ is an emotional downtempo track resonating feelings missed from a less bleak time. The track is carried through its 80s style bassline, emotive vocal cuts and cinematic feel. Evolving from a mellow and hypnotic aura and transformed by the tracks drums and percussive elements

‘Are You There’ brings together elements of acid, percussion and a rolling bassline that keeps your feet moving - an ode to the dancefloor. Are You There's liveliness creates an energetic atmosphere guided by melodic colours. The vocals within the track opens a dialogue between the music and the listener that creates a symbiotic relationship between DJ and those on the Dancefloor.

AEGEAN is the first offering by Argentine producer and Leipzig resident Accanto. His approach to mid tempo electronica is very rich in organic textures and deep atmospherics. The opening track Sentimental Sediments sounds deep, raw and dubby, a great opener for any set. Bokanovsky picks up the pace and brings in the sunshine uplifting vibes, while the title track Aegean completes the package with an exquisite progressive anthem that makes good use of a bass arpeggio to create a driving groove that will surely lift dancefloors to Cosmic dimentions. A must for Balearic lovers and adult ravers.
ACCANTO is Jorge Bonadeo Miguens, a young Argentine producer residing in Leipzig. Born in 1990 in the city of Buenos Aires, his relationship with music started at an early age while digging the cassettes of his older brothers. At the age of 13 he started playing bass guitar in a rock band with friends, with which he played
in several halls and bars, as well as recorded a studio album.
Around 2012 Jorge got into the electronic music scene of Buenos Aires. After years of traveling and getting immersed in the scenes of his city, Sydney and Europe, he settled in Barcelona and started producing, while also performing as DJ. Nowadays based in Germany, and after years of self knowledge and learning, he felt ready to share his music with the world.

A singular group of ?experts? issues a notice of extraordinary urgency in the vicinity of various atmospheric phenomena, which are partially localized and, above all, of high intensity. Yet the sun shines with strength over the Neapolitan favela. ?Allerta Meteo? is the first album of sparkling sonics by The Funkin? Machine Collective and the newest release of Periodica Records? Pegaso Series, comprising a cross-section of jazz and funk sounds, with bright colors that are good for any season, whether rain or shine. The voice of Andres Balbucea - the binding soul of the opera - is supported by the unmistakable flow of Speaker Cenzou during the vibrant ''L'ora d'o Groove'', accompanied by the performances of Roberto Porzio on the synthesizers, Alessio Pignorio and Riccardo Betteghella on the guitars, Vincenzo Lamagna bass guitar, Andrea De Fazio drums, Paolo Bianconcini on percussions, and the extraordinary participation of Pietro Santangelo in the cinematic ''Django'' and Jeroen Verberne on Trombone in ''Rafiki''. An authentic wave of warm notes destined to overwhelm the most observant listener, the first hour followers and all the citizens.

Global electronic sound specialist - Producer and DJ Oliver Williams aka "The Busy Twist" is at it again. Among his numerous projects as a producer, this double-sider, dancefloor-focused EP is one of his seldom seen, more personal works in the vein of what he does best: an uptempo, bass-heavy madness, influenced by his regular trips to Africa, Latin America and the West-Indies, packed with undeniable British club music culture and production technique. Highly infectious energy, pure sunshine, 100% good vibes. Following up on The Busy Twist previous collaborations with Congolese singer Tres. "Nanko" is another joyful, sun-soaked, highly danceable Electro-Soukous party joint, loaded with captivating guitar grooves and soulful vocals. On the flip, "Rwendo Rweupenyu (The Journey Of Life) Remix" is an outstanding take on Zimbabwean Sungura Music (one of the country's most popular genres), originally performed by street band Daniel & Gonora Sounds, led by singer-guitarist Daniel Gonora and his drummer son Isaac. Respectfully using Daniel's mind bending guitar riffs and highpitched, uplifting vocals, The Busy Twist and his collaborator delivers an inspiring and remarkably effective version of the original song. Vinyl contains exclusive extended and instrumental Dj-friendly versions of both tracks that won't be available for download anywhere.

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.