quête:dj maestro

The BBoy anthem: Funkshone -Chase the Dream unleashes
Mike’s trademark drum grooves against the usual Funkshone wall of sound; this time with an overall Cinematic Funk driving groove; bass-driven; horn and flutes accents; also featuring: the UK’s maestro Kaidi Tatham on Flute
(more known for his amazing Keyboard delights).
The original mix was catapulted to the forefront of BBoy culture by DJ Skeme Richards whom insisted this was used in his set at the Red Bull BC One BBoy Championship finals in Brazil in 2012. To seal the deal Funkshone also deliver a never before heard BBoy version of the cut on the flip side of this Limited edition 45.

This EP contains unreleased music composed and produced by Alessandro Alessandroni in the 70s, taken from a dusty tape found in his vault. Afro Discoteca strikes immediately for its modernity and rich textures, sounding unbelievably contemporary.

Alessandro Alessandroni is one of those pioneers, a maestro that built the legend of Italian soundtracks and library music along with Ennio Morricone, Piero Umiliani and many others. His vault testifies how prolific had been those times, with hundreds of tapes and obscure recordings from that period. Among the many, a dusty tape bearing the hand-written label Afro Discoteca' captured the attention of Four Flies.

The music contained in the tape had never been released until now. When he listened to the tracks, Italian legendary DJ LEO MAS (one of the undisputed inventors of the Balearic sound) told us: It is surprising to listen to something that sounds

so modern... This EP is the perfect union of Afro influences and Italian taste. There's something Afro lounge here but also incredibly cinematic - it makes me think of John Carpenter's atmospheres. B1 (Afro Discoteca) reminds me of clubs I've been in Malindi in the late 70s and the closing track is absolutely spellbinding. This is wonderful.' PAOLO SCOTTI, head of Déjà vu Records and an authoritative Italian jazz expert said: Alessandroni's contribution to music is huge, he's a great musician and a great experimenter. Afro Discoteca sounds like it's been produced yesterday by a DJ of our times, an absolutely surprising EP and proof of Alessandroni's spontaneous genius!'

With their head-bopping, hip-thrusting, zalghouta-inducing tunes, Restless Leg Syndrome have tastefully-crafted a mélange of global references and in their work. The Vienna-based group is made up of longtime DJ and producer d.b.h and turntable maestros Chrisfader and Testa.
Over the course of 2021, RLS dropped four eclectic EPs that seamlessly fuse long-forgotten tunes with foot-stomping breaks

We've selected two hits from "Totem" and crafted this delicious 7" inches!
Side A sees the standout track "Represent the Fucking Planet", that really underscores the trios' appreciation for drums that knock.
On the B side we take a deep dive into our most hidden inner-self with the hypnotic "Spirit".

Orange Vinyl

With their head-bopping, hip-thrusting, zalghouta-inducing tunes, Restless Leg Syndrome have tastefully-crafted a mélange of global references and in their work. The Vienna-based group is made up of longtime DJ and producer d.b.h and turntable maestros Chrisfader and Testa.
Over the course of 2021, RLS dropped four eclectic EPs that seamlessly fuse long-forgotten tunes with foot-stomping breaks

We've selected two hits from "Totem" and crafted this delicious 7" inches!
Side A sees the standout track "Represent the Fucking Planet", that really underscores the trios' appreciation for drums that knock.
On the B side we take a deep dive into our most hidden inner-self with the hypnotic "Spirit".

G&D back with their 5th Volume of edit series, but this time they have special honor to have on the label The Maestro "LTJ X-perience”

and his fantastic groove with the Rain Machine (Dirty groove edit) on A1 side and the great duo from Germany "First Touch" with another

great version of the Rain Machine ( Italo Boogie Edit ) on B1 side.. A2 and B2 are The Boogie Afro "Ziddy" and The Bossa Disco "Gusto”

edited by G&D duo with their dancefloor style as usual.

Essential!! Supported around the world by the best Disco Djs.

Kaizers Orchestra präsentieren eine komprimierte, aber dennoch umfangreiche Sammlung ihres facettenreichen und charismatischen, musikalischen Universums. Das norwegische Sextett, geliebt für seine kathartischen Rocksongs zwischen New Yorker Jazzmelodien und osteuropäischer Volksmusik, mischte mit seinem Debütalbum 2001 (das meistverkaufte Rockdebüt in norwegischer Sprache) die norwegische Szene auf, erreichte mit jedem Album die #1, gewann haufenweise norwegische Grammies, feierte Erfolge und tourte in und durch Europa, u.a. bespielte es dreimal die Roskilder Hauptbühne. Die 21 Songs repräsentieren die Kaizers Orchestra-Essenz und das Beste aus 21 Jahren 'Ompa-Rock'. Derzeit geht ihr 2010er Hit 'Hjerteknuser' auf TikTok viral und beschert der Band ungeahnte, neue Aufmerksamkeit passend zu ihrer 'Greatest Hits' LP.

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

Massimiliano Pagliara returns to Permanent Vacation with his fourth studio album "See You In Paradise". After the highly acclaimed "Nothing Stays In One Place For Long" EP from 2020, this is the first full-length from the Italian-raised and Berlin-based producer for the label. Albums in the dance music genre can often be a challenge in terms of finding the right balance between the dancefloor and listening at home. Massimiliano, however, mastered this craftmanship perfectly while reviving the art of the album format.
Mostly written and produced in the lockdown period of spring 2020 these 10 tracks offer the whole sonic spectrum from the "Massi universe". The hardware enthusiast blends analogue-heavy and bright synthesizer melodies, pop hooks, Chicago house groove with more technoid tracks and atmospheric soundscapes. Taking you on a journey through his mind, body and soul: From his underground disco passion and pulsating dancefloor moments to ethereal and meditative ambience.

Inspired, both musically and aesthetically - one of his favourite carnal catchphrases titles the album - by Disco hero Patrick Cowley, Massimiliano channelled past, present and future in searching for new adventures within his music. For the first time working with live musicians (saxophone and piano) to bring a new facet on the table, that flows with the production seamlessly.

Communication and getting into a dialogue is a crucial part for Massimiliano as an artist. Whether it used to be as a ballet dancer, as a DJ, most prominently as a resident of the legendary Berghain / Panorama Bar, a producer and in collaboration with other artists and musicians: Maestro Massi has gathered an illustrious group of friends and like minded artist such as Snax, Fort Romeau and Init (with whom he has worked before), as well as new collaborators including Curses, Coloray and Vanessa. Under the artistic direction of Massimiliano each artist was able to bring his own unique talent into the album's coherent production and together with Massimiliano they created something that is more than the sum of its parts: A refuge full of beauty and harmony and free from worries in an upside down world. In other words: "See You In Paradise”

The ground- breaking, unique jazz/R&B/pop group Brian Auger & The Trinity were formed from the ashes of Long John Baldry’s and Brian Auger’s previous group bandThe Steampacket, an R&B Revue collective, which also featured a then barely known Rod Stewart and Julie Driscoll.

Adding the UKs then greatest soul/pop singer Julie Driscoll to this new collective meant that not only did the band have a unique, beautiful voice and face to front the group – Driscoll also embodied everything about the 1960s fashionable It Girl; her sound, her clothes, hair styles and make up assured that nearly as many column inches were dedicated to her stylish demeanour as much as the band’s genre bending music.

The group were the one of the first too to intentionally set out to break down musical barriers – Brian himself specifically stated in the sleeve notes for 1968s ‘Definitely What!’ album that his concept “lies along a straight line drawn between pop and jazz and aims at the ‘fusion’ of both elements”. ‘Fusion’ at that time was not even a recognised musical term, reinforcing Auger’s credentials as an originator and innovator.

“Back then the jazz audiences were purists. They really looked down on rock and pop,” he explains. “I had people cross the road when they saw me coming, I was persona non grata at Ronnie Scotts because of themusic we were doing and the clothes we were wearing”.

Happily – audiences of the time didn’t take the same dismissive approach, Julie Driscoll, Brian Auger & The Trinity toured the US and had exploded onto American TV screens as guests of The Monkees, and also scored hits across Europe's pop charts via the singles ‘This Wheels On Fire’ & ‘Save Me’ – but simultaneously appeared on the UK’s ‘Top Of The Pops’ in the same month as headlining major European Jazz Festivals – a feat no other act has equalled since.

Between 1967 and ’70, Brian Auger experienced a four year run of unprecedented creativity – 1967’s Open with Julie Driscoll, 1968’s Definitely What!, 1969’s Streetnoise again with Driscoll and 1970’s Befour – taking the Hammond Organ in new directions with their thrilling fusion of club R&B, jazz and psychedelic cool, engaging both the underground and the mainstream, and bringing the group chart success in the UK and Europe. “I look back on my years with The Trinity as aperiod of discovery,” Auger concludes. “I didn’t know what would happen or where it would take me but we were breaking down barriers and going someplace new.”


King Britt “The Multi-Genre Maestro, Brian Auger is every producer and DJ’s secret weapon. A hero who deserves his flower now”

DJ Format “I have more Brian Auger records in my collection than any other British artist, which says more about my love of his music than words ever could"


FOR FANS OF:
Jimmy Smith, Aretha Franklin, The Spencer Davis
Group, Nina Simone, Georgie Fame, Traffic. Sly &
The Family Stone, Jimmy McGriff.

A generous DJ/party-friendly 6-pack from Biesmans’ brilliant, intense contribution to Watergate’s revered mix LP series, selecting from the 17-track LP collaborations with Adana Twins, Shubostar, Dusky, Kasper Bjørke & Jacob Bellens and Zombies in Miami, plus a solo from the Belgian Indie dance maestro.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

Side A / Double A / You Feel Alright?

Double A returns for a sample heavy b-boy breaks workout with “You Feel Alright?”. This one’s a nod to his roots in late 80’s hip-hop; an à la Prince Paul cut and paste homage to a time when hip-hop was still for the dancers. There’s also a sneaky “whaddup?” to his fellow oldschool D&B heads in the breakdown. The main sample is 1970s
Afro-funk gold; horns, horns, and more horns. Bangin’ drums and a rolling baseline tie it all together for the dance floor.

Side AA / The Gaff / High Life

Party rocker, turntablist, edit maestro, all-round good dude, and Canadian National Treasure, The Gaff smashes a heavy afro-funk edit with a b-boy feel on this one. Knockin’ drums, syncopated percussion, and a house(ish) tempo make this one a guaranteed floor filler. A smattering of male vocals is the icing on the cake here too. Dj-friendly intro and outro for your mixing pleasure. A must for your crates.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

Finally the debut full length LP from Aeon Seven is upon us!

After a production career going back to the year 2000, this French maestro has been a creative force in all areas of production, DJing and animation.

First gaining some serious attention from the funk/breaks community worldwide with his exceptional Funky Furious EP (2005), he has gone on to produce a clutch of incredible mix tapes that beautifully reveal his deft touch on the turntables and in the studio, he's written a couple of singles for 45 Live Records and produced some slick DJ tools with the Thundercuts series on both 7" and 12".

Throughout all this time Aeon Seven has been honing his craft both musically and visually. His love of the instrumental, and obvious love of soundtracks, psyche and jazz come through in all of his productions. From the downbeat and wonderfully eerie and atmospheric themes of "The Hidden Hand", the cosmic harp led soundscape of the opening track "Outer Space Illusion" to the uptempo and funky blaxploitation vibes of "Mankind Hunt", Aeon Seven's grasp of songwriting is mature and expertly executed.

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes."

For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor."

To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted."

Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body.

The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative."

David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea."

Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started"

Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence.

Even with such a staggering legacy, Morales never looks over his shoulder.

"That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time."

And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

"Moody Disco Vol. 1" finds Los Angeles disco/funk maestro, KCRW fave & rising TikTok star (250k followers for his "Interpolation" videos) LUXXURY aka Blake Robin exploring new disco directions.

Leading the EP, "Let's Stay Together” blends house and jazz-funk rhythms with his trademark dusty basslines, dreamy ‘70s keys, and minimal vocals. Next up, “Don't Give Up (I Believe in You)” is a fresh, funk-infused fusion of 'Forget Me Nots'-style Rhodes, infectious bass, dusty lo-fi beats and a simple, uplifting mantra-like vocal delivered by Robin in his gorgeous falsetto.

On the flip, "Two Hearts" revitalizes a familiar 80s Hi-NRG topline with a new chill-yet-funky instrumental. Rounding out the EP are two popular remixes never before released on vinyl, the upbeat piano house classic “Pleasure!” and Crackazat’s floor-filling take on “Hold On.” Moody though it may be, the EP is a gimmer of hope near the end of a dark period.


DJ Support:

Purple Disco Machine, Polo & Pan, The Reflex, JKriv, KCRW

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba Label Team.
The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remained behind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed and incorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernity at the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. The group drew a unique sound from it, a perfect balance between tradition and the modern. There are about fifteen artits on stage, singers, guitarists drummer and percussionists. The Super Biton has for years been the best known and most sought-after orchestra of Mali outsid the country's borders, the Super Biton transcends the only Bambara heritage with its repertoire. Ségou is crossroads between Bambara, Fulani, Mandingo and Somono cultures and Biton has drawn on all these traditions to creat a repertoire extremely rich in rhythms and words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot of
brass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated.
Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritage through musical exchange between the older and newer generation - Artist residences, music lessons, rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members of Super Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where Deviation Records is collaboration for the second time on the album - After the « Lost Maestros Collection » - with the
support of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea of offering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound,
a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! This double LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remastered by Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived by
Ewwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft to say is that i hope that you enjoy listening to the final result !"

This one is about the 14th district of Paris.
On the first side, you'll find a track by MLM which invites you to a minimal trip between the René Coty Street and the Montparnasse tower. The track name is a reference to a french poetic movement.
Next is L-e-o's track which takes you around the parisian "prison de la santé" in a very trippy way.

On the side B, you'll find Soufflé Caramel's track that brings you to the Alésia neighborhood and reminds us the early hours of Minimal music.
Then, the maestro Djebali pleases us with a reference to his now world-known Ideal Ghetto Touch.
Finally, the geniuses KERAW make you lose your head with this galactic jungle that will get you travelling around the famous Montsouris Park.
We hope you'll like it !

LMR003, 12", Paris 2021.
Master by SFX Mastering.

Welcome to a new exciting chapter in the Four Flies 45s series, which brings to DJs, producers and music lovers all over the world a collection of super-groovy themes from the finest Italian soundtracks, issued on 7-inch vinyl for the very first time. This release presents the two funkiest tunes from the soundtrack to Gianni Proia's Mondo di Notte Oggi, a 1976 Mondo movie whose score was composed, arranged and produced by Gianni Oddi and Gianni Dell'Orso. While Oddi had several successful albums under his belt, either as writer or arranger, Gianni Dell'Orso, one of the most versatile producers of his time and the brother of multi-talented maestro Giacomo Dell'Orso (the husband of Morricone's favourite singer, Edda), had worked in a wide variety of genres, from prog rock to library music.

Side A contains the afro-funk classic "Soul Meeting", a vibrant, infectious and psychedelic piece driven by percussion and flute. Side B features the equally irresistible "Teenager", an afro-influenced funk track with a soulful brass section and wah wah guitar, used in the soundtrack as a sort of background music but, in fact, released a couple of years before as part of Oddi's album "Oddi 4".

A must-have for any DJ and collector, this exclusive 7-inch comes in a limited edition of 350 copies. Don't wait and grab yours before it's too late!

I attended a trade fair in Rio de Janeiro, Brazil. In this show, we met producers, label and festival managers. It is a privileged moment when it is possible to learn about new trends, new musical forms, emerging groups. The timing of the meal is undoubtedly the most important. We take the time to introduce ourselves and discover each other. When my turn arrived, I took out my little map to locate the town of Sète on the map of France. There, an American promoter exclaimed "Yeah! You live in this beautiful city. Where there is this incredible music. ” I admit that at the time I didn’t quite understand what he meant but flattered by his remark I told him yes. Later, I realized that he was talking about gypsy music that made the whole world dream.



When my friend shared this anecdote to me, it resonated deeply with me. Indeed, for us, people of the south of France, this was nothing exceptional. Indeed, every day you could meet in the street a gypsy musician performing a rumba, another declaiming a fandango or another who liked to paraphrase the maestro Django. It is part of our daily environment, but it is indeed a peculiarity of this region. The territory of the Mediterranean arc, from Arles to Perpignan, is indeed the cradle of gypsy music in France. In addition, we must underline the major influence of the Gypsy artists of Catalonia in the development of these different artistic forms. Through weddings and family reunions, the repertoires have shifted to be reinterpreted according to the identities specific to each and the territories of residence.



With this new collection, we wanted to show, to hear all the musical richness of Gypsy and Manouche artists populating the territory. From appropriation to recreation, they never stop bringing this music to life, re-enchanting it and offering it a resolutely modern reading, open to the world. In this first opus, devoted to the guitar, we will take the routes of latin music, flamenco or jazz alongside renowned artists and young talents. With "The sound of guitars", it is a first door open to the gypsy music of the Mediterranean Arc, that we will discover gradually through the "Mediteranean Gypsies roads" collection.

Sasha introduces LUZoSCURA, a new compilation that hasevolved from the thriving eponymous playlist. Featuring adiverse package of original works from a host of fresh talent, aswell as established artists and Sasha himself, it traverse selectronica, ambient, breaks and techno. Meaning light and dark, LUZoSCURA began on Spotify as a stash of tracks sent to Sasha which didn't meet the pace of his clubsets nor suit his venerated label LNOE, LUZoSCURA came into itsown through 2020 as Sasha gravitated toward more mellowed sounds while being off the road, and clubbers diverted their ears to home listening. Gaining a renewed source of energy inconnecting with more gifted, budding producers and seeing the project blossom, the idea for the compilation came off the back of doing a live stream solely featuring tracks from the playlist. Meticulously compiled to flow like a DJ mix for home listening, Sasha kicks it off with the buoyant, breaks-influenced 'Corner Shop', the first of his three tracks on the compilation. MJ Cole is among the established artists to feature with blissed out track 'Maestro', while The Micronaut, a multi-instrumentalist whose back catalogue was a favourite of Sasha's through lockdown, offers an immersive trip in 'Koelsa'. Lau.ra, lead singer from British experimental rock band Ultraísta, evokes a sense of spiritedness in 'I'll Wait' before we hear again from Sasha with another breaks-loaded trip in 'HNDI' and a collaboration withB ritish producer Franky Wah. Closing the odyssey with a stirring, expansive soundscape is synth duo Felsmann + Tiley.

To reveal to the world all the musical riches of Mali, and more particularly the music of the Mandé region, cradle of the great griot families, is the highly laudable purpose of this LP The Lost Maestros Collection. To perpetuate and transmit this ancestral musical history, The Lost Maestros Collection brings together 8 wonders of Mali who have each in their own way managed to develop this tradition towards more modern and electrified countries and associates pioneers of Mandingo music and actors of the young post generation.

The Lost Maestros Collection is the result of the collaboration between Deviation Records, newly created by Phil Margueron and the independent Malian label Mieruba, which has been working since 2010 to ensure that this golden age of Mande music does not fall into oblivion. Aware that these nuggets are not eternal, Mieruba, based in Ségou on the banks of the Niger river and capital of the former Bambara kingdom, undertook for eight years the preservation of this musical heritage by putting these 16 pieces on tapes at the Kôré studio de Ségou as well as at the famous Bogolan studio in Bamako.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years, primarily through his collaborations with the Afrobeat maestro Dele Sosimi (former keyboardist for both Fela and Femi Kuti) and with the pianist Kishon Khan. Most recently in Khan's projects Lokkhi Terra and the Afrobeat/Cuban crossover, Cubafrobeat.

Thurgur has worked with Cuban giants Giraldo Piloto, Changuito and Julito Padron, with the Nigerian drum legend Tony Allen and with Damon Albarn's Africa Express project; which included Cheick Tidiane-Seck and Fatoumata Diawara. He's also worked with the likes of Bukky Leo, Francis Fuster, Pandit Dinesh, Baby Akhtar, Inemo, Tony Kofi, Kodjovi Kush, The Soothsayers, The Levellers and The Selecter.

He is perhaps most known as the trombonist from the multi-award winning 'folk' group Bellowhead. Their split in 2016 led to him forming his own band and releasing his debut album as a bandleader, 'No Confusion'.

The album features original compositions written by Thurgur in collaboration with double bassist Max De Wardener, piano/rhodes/Hammond organ player Kishon Khan and guitarist Phil Dawson, with band members including the likes of Graeme Flowers on trumpet, James Allsopp on bass clarinet and Oreste Noda on congas.

Thurgur promoted 'No Confusion' throughout 2016 and 2017, culminating in an enthusiastically received performance at Love Supreme Jazz Festival in 2017. Jazz FM, in particular Chris Philips, gave extensive airplay to the album as well as streaming a live performance from the Jazz FM studios and doing an interview. They subsequently playlisted two of Thurgur's single releases. Lopa Kothari played a track on BBC Radio 3's show 'The World On 3'. The band did a live interview and performance on DJ Ritu's 'A World In London' show on Resonance FM. Beyond this Thurgur has been developing relationships with various other digital radio stations, including Gordon Wedderburn, John Waugh and a number of Global music stations based in Europe.

After a well received and enjoyed first joint on this freshly founded co-founded music label joining Kalakuta Soul Records with the neighboring Bahlo Records Store, Kalakuta Soul Bahlo Records is more than happy to re-issue a Disco gem that has been enjoyed in several occasions in the past years but seldom was easy to find.
On a working trip to Italy the salesmen Mohmed Fersi, Lotfi Ferjani, Smir Almia, Mohsen Matri and Nejib Toukabri used their stopover in Italy for a recording session guided by the owner of Phono Sound Dischi Francesco Ammaturo and that resulted in the release of „Dance“ and „Can’t You See Me“ in 1980.
Almost 40 years later, KABA’s half Guy Dermosessian got invited by the mighty Najib Ben Belgacem for a memorable party he organized together with Tunis’ mighty „Downtown Vibes“ Family at Wax Bar followed by a live stream for downtown based and freshly found record label „Eddisco“. Why we’re telling you that? Well, odds are it
turned out that one of Downtown Vibes’ Baba and Eddisco’s Mama was the amazing selector and DJ Hamdi Toukabri, nephew of Nejib Toukabri, Corniche Band’s Keyboard maestro. And the rest is history as you can imagine.
We are more than pleased to have had the chance to re-issue this amazing record we hereby would like to dedicate to the shortly deceased Mohmed „Momo“ Fersi and his family. May his soul rest in peace. We would also like to thank Hamdi Toukabri and Nejib Toukabri for making this happen and possible as well as our brother Najib
Ben Belgacem for bringing us all together in the first place.
Corniche Band comes in its original Cover design and with the same tracklist.
Stay tuned for an exclusive and lovely Edit of „Dance“ by Downtown Vibes’ super amore Hamdi Ryder hitting the digital shelves upon release of this record.

An exchange between several voices of African artists (the Congolese Flamme on guitar, the late Cameroonian Hilaire Penda on bass, the Beninese Angélique Kidjo on vocals, and the dj singer producer
from South Africa Mo Laudi on the mike) gathered for the dance and celebration of this World Heritage work. The most popular anthem of classical music revisited in Afro Pop mode for crowds around the world. About this project, the producer Philippe Cohen Solal (ex-Gotan Project) tells: « When Mo Laudi, a Paris-based South African DJ, joined me in the studio, he delivered a great rap full of positive energy and geopolitical rhymes, from Patrice Lumumba to Biko and from Congo to São Paolo. Then Queen Angelique Kidjo, like a divine diva, fervently sang her hymn "Lonlon" in the Mina language, where the Afro literally meets the Bolero. We will not forget the fine team that allowed me to concoct this sacred cocktail: Flamme Kapaya,
outstanding Congolese guitarist, the Parisian DJ-beatmaker Lazy Flow and the late Hilaire Penda, Cameroonian bass player who unfortunately left us since. Benin, South Africa, Congo and Cameroon meet in Paname, the capital of World Sound, but the musical adventure did not stop there. The remixes take us straight to London with Poté, to Berlin with Daniel Haaksman and to Johannesburg with the super-group Batuk formed by the godfather of the African electro Spoek Mathambo, the kwaito maestro Aero Manyelo and the Mozambican singer Manteiga. At a time when travel is prohibited or
not recommended, let us be glad that music does not need certificates or passports and knows no borders ».

Shift Imprint gives a warm welcome to one of the best producers and DJs ever to come out of the UK, nothing more, nothing less than Mr. Allen Aubrey!
The sixth cut of the label is composed by four original tracks fueled by dark, noisy, foggy, groovy, distorted jazzy and funky vibes, accurately named as the “Sleeze Funk EP”, no other title could do the job better.
So, here’s an invitation to transcend the mundane and expand your thoughts deep into the raw sound of the British maestro, Aubrey.

The globetrotting beat maestro is back, with a truckload of tropical vibes and the irresistibly danceable soundtrack to your Summer! 3 years after releasing his groundbreaking collaborative album with singer Chico Mann (which landed him live sets on Boiler Room & KCRW's Morning Becomes Eclectic as well as a feature on NYTimes "Best Songs Of The Week") DJ/producer Captain Planet returns with NO VISA, set to drop June 26th on Bastard Jazz Recordings. In his trademark "Gumbo Funk" sound, the album mixes rhythms and musical styles from the Caribbean, Latin America, the Middle East and Africa, over highly danceable electronic beats, all firmly rooted in the hip hop, dancehall and house music that the Captain grew up playing as a DJ. Seamlessly bouncing from Brazilian Baile Funk, to Afrobeat, to Roots Reggae and Latin House, the entire record delivers the uplifting feel of one of the Captain's legendary boundary-crossing DJ sets. Building on these traditions he draws from, the Captain has created something fully original and unique.

NO VISA, the 5th full-length album from producer Charlie Wilder (aka Captain Planet), is both a return to form and a launchpad into the future. With 13 songs that feature vocalists from around the world, long-time fans will recognize several previous collaborators as well as the global influences that have always been central to Captain Planet's music. New friends, like prolific Zimbabwean-American singer Shungudzo (who has recent hits with Oliver Heldens & Rudimental), and Jamaican reggae star Jesse Royal, bring powerful subversive messages to the music as well. Showcasing the Captain's production chops and songwriting talents equally, the album unveils a unique musical landscape, a place where our political boundaries and cultural hierarchies begin to dissolve, where foreign languages mingle together and deep rooted traditions dance with the future.

With NO VISA, Captain Planet unveils a fully matured and truly unique form of electronic music- one that bridges gaps between worldwide cultural diasporas as well as contemporary dance music sub-genres (house, hip hop, dancehall & global bass). Throughout every Captain Planet song, it's clear to hear his inspired appreciation for breaking the boundaries between genres and bridging continents through rhythm.

Carving out an enviable reputation across the globe for his distinctive and highly personal brand of House music, Kiko Navarro's voyage of sonic discovery has been going strong for almost three decades now. From London to the Far East, Kiko has travelled far and wide with his music, embracing sounds from each continent as he goes. Kiko's new album, Afroterraneo- also named after his music label- defines the sound of his home. The album incorporates sounds touched by the Mediterranean Sea, drawing influences from Europe, Africa and his roots in the Balearic Islands. Afroterraneo is all about fusion. It includes Afro-Cuban songs like "Okere", "Karabali" and "Ekobio Monina", Midwest-African flavour on "Ihabogi Rawaly" and "Beréde", Flamenco with "La Fatiga", Balearic emotions with maestro Joan Bibiloni on "El Salto Del Martin" and "Vida", South African vibes on "Olwakhuthando", Afro Mbira lines with European TB303 acid blips on "Cacao Ceremony" and it all ends with his own tribute to his mother on "Para Mama". Born on Mallorca, Kiko's sound reflects the sun-drenched, slow living atmosphere of the Balearic island he still calls home. Obsessed from an early age with the more soulful side of US House music, Navarro's DJ skills soon attracted the attention of nightlife behemoth Pacha who offered him club residencies both in Palma and in Ibiza. Next came a monthly gig at Space Ibiza and the rest, as they say, is history. A true Renaissance Man; now also a family man, today's Kiko Navarro is perhaps even more focused and dedicated to his life in music than ever before. An album tour this year will see him play DJ sets in Italy, Bulgaria, Macedonia, Greece, Japan, South Korea, China with many more to be confirmed. Whether in the studio crafting records or in the club controlling the dance-floor, Kiko's musical mission has become the habit of a lifetime.

R&S welcome electronic composer Matthew Puffett AKA Future Beat Alliance with his killer single ’Never Forever’ a sublime slice of broken beat techno that originally had a limited release on his “Patience and Distance” album in 2009. It now comes backed with a first rate remix courtesy of R&S regular Afriqua.

A veteran of the UK electronic scene originally from Oxford but now located in Berlin, Puffett made his name in the late 90s with a string of sought after releases on Void Records under the aliases Mode-M and Soul Electrik before settling on the Future Beat Alliance handle. Notching up releases with the likes of Delsin, Rush Hour and Versatile as well as with the storied Tresor imprint, both as a DJ and an artist. In 2019 Matt started his new imprint Reward System to self release new creations.

Life long friend from Oxford, Mo’ Wax and Unkle maestro James Lavelle reached out in 2012, which led to a further creative chapter in Puffett`s story that culminated with him co-writing & programming on Unkle’s 5th studio album ’The Road Part 1’ as well as some singular work in film and television. “The moving image plays a key creative motive in my process,” Matthew explains. “Sound & picture married together is such a powerful combination that always inspires me every time to make my own version, 'Never Forever' is one of my many attempts to try and
capture that.”

Taking cues from modern cinema masters like Denis Villeneuve, Panos Cosmatos, Steven Soderberg and Jonathon Glazer and their respective composers, Puffett's widescreen sonic craftsmanship alongside his irresistible rhythmic sense are a key part of what makes Future Beat Alliance music so alluring; "I want my tracks to guide the listener on a exit route far from this world”

The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.

In late 70's and early 80's Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.

Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer.

Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.

The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.

Al-Munzer’s five titles from the 1970's and 1980's are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.

Notes by Natalie Shooter, a music journalist and researcher based in Beirut, edited by Will Sumsuch.

March 2017: Alessandro Alessandroni's 'Afro Discoteca' is released on a blasting 12'' containing 4 cosmic/disco tracks drawing influences from African music – never published before these incredibly powerful and evocative recordings were rescued from an old dusty tape found in the Maestro's vaults.

The EP became an instant classic for diggers and worldwide tastemakers, bringing the name of Alessandroni to new audiences,
far beyond the circle of film scores and library music aficionados.

March 2019: Four Flies asks to a rock band (CALIBRO 35) and three amongst the most brilliant and visionary Italian DJs and producers (Jolly Mare, L.U.C.A., pAd) to rework the original tracks, giving them new life for refined modern dancefloors.

The result is a stunning collection of electronic/cosmic/balearic reworks, which respects the spirit of Alessandroni's compositions, projecting them into our present

After their first issue focus on Benga, a Kenyan musical movement, FLEE is proud to present its new project: «Tarantismo: Odyssey of an Italian Ritual», available on 2LP Gatefold and as a bundle with 2LP Gatefold and a 168 pages Book.

Please note that the book only is not available

Dedicated to Tarentism, this project tells the story of a centuries-old choreo-musical ritual from Southern Italy, mobilizing frenetic rhythms and maniac dances, to exorcise women of a mysterious evil caused by the bite of a spider. Trans-disciplinary, this effort of documentation and artistic re-interpretation of one Europe’s most mysterious trance phenomenon is comprised of a double LP vinyl compilation including original recordings from Italian Maestro's Carpitella, Lomax and De Martino with reinterpretations from Don't DJ, Bottin, LNS, Bjorn Torske & Trym Søvdsnes, KMRU, Uffe and a hardcover Italian/English book.

Following the success of 'Stellar Tunes', Italian maestro A Credible Eye Witness and his partner in crime Ghost Ride have returned into the studios to bring you this very special phenomenon. Top notch 'Random Research' introduces four tracks of pure electro madness, starting off with well named 'Synthesis', a fusion of both producers creative talent into one of a kind track that celebrates their immoderate taste for mind blowing electro modulations! Pounding 'Magnetic Force' offers a powerful electro monster based upon hammering beats and hypnotic vocals. A pure Dj tool, perfect to drop in the middle of set exactly when you want to lead your crowd into harder areas. Textured 'Metis' on the flipside continues where 'Magnetic Force' stopped to offer more psychedelic and urban melodies. Combined to a groovy bass line, the track appears to be a real winner while 'Leda' slows down the rhythm for more relaxing and no-nonsense electro tinted with acidic loops. The 'Random Research' EP sees two uncompromised artists explore uncharted territories, unusual dancefloor paths to take the listener to a higher level of electro. A must have 12'' ahead of its time, even better than 'Stellar Tunes'. Are you prepared enough for that

Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.

"Luz da Joaca" is a track taken from S-Tone Inc. latest full-length "Onda", here retreated by the magic touch of Maestro Gerardo Frisina with his unique taste. A musical journey in two different movements, both in a Batucada style: the A-side exalts the original melody sung by Toco, while the B-side is a dub rhythm-focused version especially made for a DJ use. Once again Mr. Frisina gives us a sample of his skills as an affirmed producer and longtime collaborator of Schema Records!

Bang! Superfiction Recordings is back with label bosses Italoboyz and Blind Minded joining forces once again, + 2 sublime remixes by superhot Mexican new kid Sakro, and legendary house music French Maestro DJ W!ld.

This record, once again, offers a wide spectrum of Superfiction's music taste, encapsulating minimal house - tech sound - deep grooves, all blended in a fresh and modern way.

Vinyl only

Capofortuna is a duo made up of legendary Bologna-based house maestro, DJ Rame and multi-instrumentalist Ricky Cardelli from Rimini. Perhaps our 'housiest' release to date. Crush On You is an EP of particularly sophisticated forward thinking dance music. With glorious live instrumentation and joyous arrangements this is the kind of record that is going to slip right into many DJ's collections. Don't sleep on this one.

Wislov might be a new signee to Knitebreed, but he has been releasing material for years, and the Spanish (not Russian) maestro is already known around the world for his awesome breakbeat creations. It was only a matter of time before a label snapped him up, and he is a producer easily capable of dropping huge tunes in both dark and lighter stsyles. This EP showcases his talent, with four tracks specifically designed to compliment the Knitebreed sound while carving his own niche into the label.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others