Cerca:dj vibe

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.

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

More a family than a band, BANDA MAJE formed in a home studio in the historic district of Salerno, in Southern Italy, on the initiative of Peppe Maiellano (composer and keyboards) and Tonico Settanta (producer, rapper and DJ). The collective has an ever-changing number of members, all of whom – a bit like the lively port city they are from – exist at the crossroads between Italian melodies and imported genres like funk, soul and disco.

Released by Four Flies Records, a label specializing in vintage Italian soundtracks and brand new productions with a strong cinematic feel, Banda Maje's debut album "Ufo Bar" transports you to an imagined version of Salerno that combines local tradition and 70s pop and film culture.

Listening to the album's eight funk- and soul- infused tracks also means seeing stories unfold in the streets of this re-imagined city: from the jubilant uprising organised by the women from the Rione Fornelle neighborhood in "Fornellesse", to the cigarette smuggling story in "P' ciel, p' mar, p' terr"; from the distinctly southern Italian pucundria (bittersweet melancholy) in "Sunday Embarcadero", to the saga of provincial nightlife in "Living Disco Club".

While the LP's Side A is sunny and cheerful, its Side B is more nostalgic, almost nocturnal, with bittersweet vibes in "2010" and new wave-influenced synths in "Ago". This variety of moods reflects the emotional depth behind the music of Banda Maje: "We want to leave a trace of what we experience: the narrow little streets brimming with life; our love for Neapolitan music, for Italian soundtracks from the 70s, for B-movies and the saga of cigarette smugglers; our passion for vinyls and cassette mixtapes, not to mention second-hand love affairs and dusty afternoons spent watching third-division football."

Following a limited 7” vinyl release of SunPalace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher.
François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now.
Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and
long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is,
anyway) The full, extended version of Moodymann’s remix retains the original ‘jammed’ feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O'Gutta’ mix; calling all b-boys and b-girls! For the expanded digital package, we are also including a special edit by our sorely missed brother Phil Asher, created for his
own DJ sets and now available to all.
Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of
Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence House and electronic producers through to this day.

The second album from Brighton based Balearic duo Andres y Xavi. This time with a little help from Rolo McGinty of Peel faves and Balearic Beat legends The Woodentops. This is a love letter to the forgotten side of Ibiza: dusty lanes, olive groves and clearings with sea views that go on for miles.

10 original compositions plus a cover of Talk Talk’s Renee.

The self released and distributed first album found favour with Balearic DJs across the world. Lead track ‘My alibi’ was picked out by the likes of Kenneth Bager, Danny Psychmagik and ‘Never seen Ibiza’ was a firm favourite of Phat Phil Cooper and Balearic Ultras.

Rolo adds guitar and vocals and a Woodentops vibe to two tracks on the album ‘What do you see in me?’ and ‘Walking in the sun’, his personal tribute to Jose Padilla.

First album received support from Kenneth Bager (Music for Dreams), Phat Phil Cooper (NuNorthernSoul), Chris Coco, Mike Salta, Leo Mas, Balearic Ultras, David Pickering (OneMillionSunsets) and many more!

And was described by Dr Rob (Ban Ban Ton Ton) as "Smokey Muscle Shoals organ plays, strings swoon, and Kosmische synths blink like distant stars... an overall “vibe” somewhere between Mo`Wax and the Sunday Best of Bent and Dan Mass... adorned by cascading Indie “neo-acoustic” guitar jangle. Like The Stone Roses by way of Horsebeach."

Everything has its right moment in space and time. And Rhode & Brown’s debut album “Everything in Motion” is no exception to this rule.

But first things first:
Hailing from Munich, Germany, Friedrich Trede and Stephan Braun are the DJ and producer duo Rhode & Brown. Growing up in two neighbouring villages near Munich both of them had been music enthusiasts since their early childhood. Friedrich played drums in punk bands at school and recorded rap songs in his bedroom, while Stephan, as childhood friend of Harold Faltermeyer's son, had the chance to experiment in the impressive studio of the legendary Donna Summer producer in his early teens.

By the late 2000s older friends started supplying them with DJ mixtapes and helped them sneak into clubs they weren’t allowed to visit, yet – cultivating their love for electronic music and club culture. And, of course, the Internet was their go-to source for finding the latest blog house tunes back then, too.

It wasn’t until October 2009 that their paths would cross for the very first (but almost last) time when introduced by a mutual friend: Back then Stephan was selling his old CDJ-player and Friedrich, who wanted to hone his DJ skills, ended up buying it: „When I got home and unpacked the player I realized that it was the wrong model. I thought Stephan was trying to rip me off - so I called him in a rage and demanded my money back.“ Friedrich laughs. To cut a long story short, the two met again the same evening, money and CD-players were exchanged, but luckily so was their passion for house and disco music. It was at that very moment that Rhode & Brown was born.

A lot has happened since the two played their first gigs together and made baby steps in music production. In the past 10 years they established themselves as one of the most reliable house producers around with rock solid releases on Toy Tonics, Shall Not Fade, Public Possession or their own Slam City Jams imprint. As well as becoming a household name in the DJ world, sharing the booth with the likes of Palms Trax, Dam Swindle, Jamie Tiller or Octo Octa - spreading their infectious "Dancing Deejays" vibes around the globe.

Following the great reception of last years „Aku Aku“ EP, June 2021 will see the release of Rhode & Brown’s debut album on Permanent Vacation. A record that showcases their open minded approach to making music and a passion for the nuances between genres - „We found inspiration for this album in all corners of our record collection. That means we are as much influenced by disco or 80s synth-pop as by house and techno of the last decades or the latest viral trap hit on Spotify“, the guys say.

On "Everything In Motion" you'll hear piano house / Italo disco hybrids alongside dreamy Balearic soundscapes and '90s-infused acid breakbeats flawlessly accompanying '80s synth pop anthems. Always infused with that signature Rhode & Brown magic. The album also finds them collaborating with some of the finest vocalists of the moment: Peaking Lights' own Indra Dunis is lending her voice to the title track for this special laid back California vibe, while Berlin's hottest export DJ City evokes a neon light romance affair on "Memory Palace", with a longing poem that makes you wander the rainy streets at night with your walkman on.

At a time when suddenly everything seems to be standing still, Rhode & Brown undeterred moving forward... true to their LP’s title.

Kolonel Djafaar’s ‘Cold Heat’ packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records.

Kolonel Djafaar’s debut release for Batov is an all-killer-no-filler EP. On "Bactrian Camel’’ the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen’s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little
Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

Comparable to, but distinct from, The Budos Band and The Comet is Coming, the low-slung sounds of "Recording 68" in particular reveal Kolonel Djafaar coming into their own. The tempo drops, emphasizing the depth of the groove. The EP is appropriately closed in cinematic style on "The Heist". The pace picks up. Drums of death, in the mode of DJ Shadow or Unkle, hold up the distorted synths and that sharpest of horn sections. A song ready for the dirtiest of chase scenes. "Cold Heat" is suitably titled. Fast or slow, killer grooves that will take no prisoners. A taste of Kolonel Djafaar’s power on stage and the clearest picture yet of their direction in sound.

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.

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.

Ibadan announces the release of volume 4 in the Leads & Bites series, presenting an exciting selection of soon-to-be timeless dance floor favorites. Up first is house DJ and producer Massiande, one of the most captivating talents from South America and notable Housewax alumnus. “Mainline” comes on strong, delivering punchy synth lines and fat beats with an undeniable Chicago spirit. Sharing the A-side is “Lens House” by The Prince of Dance aka Elbee Bad, an edgy sleeper track with eclectic rhythms and a perfect balance of all the classic elements. Kicking off the B-side are heroes of the hour S.A.T. - Sydenham, AYBEE, and Trent - with “Yaphet,” a low-key offering that gradually unfolds into the trio’s signature blissed-out, energetic vibe. MLiR and Arnau Obiols wrap it up with “Calanda,” a genre-defying foray into organic vocals and experimental sounds - nervy, mysterious, and with hints of downtempo electronica.

Ziad Rahbani’s cult album, “Bennesbeh Labokra...Chou?” originally
released in Lebanon only and mixing arabic music with Jazz, Bossa Nova and other western influences, is hailed as an absolute classic.
The album is the soundtrack to his eponymous play and has been highly soughtafter by DJs and collectors around the world. Curated by Lebanese-born music
expert Mario Choueiry from Institut du Monde Arabe in Paris, the album is
reissued on vinyl for the first time since 1978, featuring original gatefold sleeve,
remastered audio and a 2 page insert with a new introduction by Choueiry.
“Bennesbeh Labokra... Chou?” is a skilful blend of Arabic music and Bossa-nova
- “First Introduction” - the recurring theme of the album, groove - the funky
beat of “Second Introduction” and the jazz vibe of “Variation’s 3 and 4.” It’s also
interesting to hear an early version of “Al Bosta” which would grace Fairuz’s
1979 album “Wahdon” in a faster, funkier version.
With a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Ziad
Rahbani also brings more complex arrangements to the album on such tracks
as “Variation 5” making the album such a rich listening. Undoubtedly one of
the most important albums recorded in the Middle East

After appearing on the label's Time Is Now Allstars compilation, Bristol's own Wilfy D makes his second appearance with Shall Not Fade, adding to their new Time Is Now White label series. The young garage star serves up the smooth and soulful two-step he is known for, plus two killer remixes from Time Is Now family DJ Crisps and Soul Mass Transit System.

"Garage Tools" opens out the EP with staccato sampling and a rumbling sub bass wobble dominating the track, the most headsy on the record while "All About U (3am Mix)" takes on a gentler vibe. Using luscious vocal chops and glimmering synths, Wilfy D creates a kind of garage love song, delicate and soothing. He kicks things up a notch on "Know U Like It", a slice of speed garage that grooves along to an earworm melody.

On the B-side Wilfy D's original "Midnight Shift", a clean classic noughties garage sound palette, is reimagined twice by DJ Crisps and then Soul Mass Transit System. DJ Crisps gives the track a drum and bass edge replete with teeth-gritting sub bass power; Soul Mass close out the record with a dirty up-tempo remix perfect for a soundsystem.

Live At Robert Johnson introduces SIRS to its artist roster, with a two-track laid-back Balearic disco EP, reducing the tempi to bring on a nicely crafted and floating cosmic groove. Arrived EP kicks off with Keep Forgetting, a laid-back and slowly evolving cosmic vibe, which lets you forget the daily routines and hardships for a while. On the flip-side, Junee widens the Balearic panorama with added pads, uptempo beats, and a heart-warming synth line. Available digital-only, Call Me turns a notion of long-distance longing into a punchy downbeat, with floating chords and melodies building into a labour-of-love tune. Daniel Klein aka SIRS (read: Sounds In Real Stereo) has come a long way since getting acquainted with electronic sounds in the 1980s and into DJing just a decade later, inspired by the early Hamburg gay scene. His mid-Nineties relocation to Ibiza and Mallorca has clearly informed SIRS’ productions and overall style, which features on many remixes and co-productions, as well as his own tracks and label SIRSOUNDS.

Larry de Kat joins Alexis Raphael’s recently launched Paella Hair Sex imprint with his debut EP on the label entitled ‘Radio K-Nip 4.20 FM’.

Utrecht-based DJ and producer Larry de Kat is a rising talent with releases on Slapfunk Records, Lazare Hoche, Ruff and his own Katnip imprint. The artist has built a diverse underground following with his eclectic but distinctive sound gaining support from the likes of Bicep, Mark Farina, Ben UFO and Subb-An. 'Radio K-Nip 4.20FM' explores Jazz, Hip-Hop, House and Funk, adding another impressive release to his growing catalogue.

Alexis has established himself as a critical figure within the house scene since rising through the ranks in 2011. His illustrious career has seen his material land on prestigious labels like Hot Creations, Mad Tech, Moda Black, Get Physical and Nervous, whilst remixing Disciples, Kim English, Tiger Stripes and Miguel Campbell. The recently launched Paella Hair Sex imprint is the beginning of a new chapter in the long-standing Deep House artist’s musical story. A return to vinyl in 2016 sparked the inspiration behind the vinyl-only label, now welcoming a heavyweight release from Larry de Kat this coming March.
Brief ‘cut and paste’ opener 'Tune In Turn On' features immersive drum loops, spoken word vocals and a classic flute sample, laying the way for the rest of the package. The sensational ‘J’ provides a feel-good Deep House affair, as a slick bassline sequence fuses with rising synth lines and soulful vocals to guide listeners on a hypnotic journey. The charming vibe continues on interludes - ‘The Spoiler’, ‘LoPass’ and ‘Zoned Out’ which showcase another side to the artists’ unique style, providing three stripped-back modern jazz affairs.

On the flip, Larry de Kat’s rework of Vanity 6’s ‘Nxsty Girl’ combines funk-infused melodies with taut bass guitar-riffs and loose percussion arrangements to keep the energy flowing. ‘Criminally Understated’ is a harmonic slice of old skool gospel and soul - sensual chords, soft keys and fluttering modulations rise through the cosmos, whilst the B-side interludes 'Lonnies Tune', 'Interloot' and Tribulations round out proceedings in style.

Tenor saxophonist Barney Wilen was not quite 21 years old at the time of this meeting with Milt Jackson, Percy Heath, and Kenny Clarke, three veterans of the Modern Jazz Quartet. But the young man is surprising mature and confident throughout the session, interpreting several of Django Reinhardt's compositions, along with a few by his French contemporaries and a pair of his own works. What's surprising about this session is the rare opportunity to hear Jackson exclusively as a pianist, as his playing is a bit more reserved than on vibes. The leader digs into his rhythm section's element with his original "B.B.B. (Bag's Barney Blues)", giving them a full chorus before making a convincing statement himself. The quartet's fluid arrangement of Thelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow is added for both "Swing 39" and "Minor Swing" to add an exotic touch. Barney Wilen easily holds his own on his first major meeting on a record date with major American jazz stars.

Miles Davis recruited Wilen for his European tour dates at this time (1957), a measure of Davis’s estimation of the young Barney.

DJ Neet & Gordon Brown Jr strikes back with their second release "Breaking Dub", a follow-up to their debut album "Research Program #1", heavily inspired by deep roots and reggae, released in 2017.

What makes this release special is the cover version of the classic Kyodai track "Breaking", released on Local Talk back in 2012. Wait a minute - A dub version of "Breaking" you say?.
Yes, you have to hear it to believe it !
While the original is built around heavy live drums, hands in the air piano chords and packs a lot of energy, this version slow things down and creates an hypnotic vibe.

When Nkrumah Jah Thomas hit Number 1 on the
Jamaican Charts in 1976 with his debut single
‘Midnight Rock’ on Alvin Ranglin’s GG label it gave the
new DJ a theme song and an entry into the world of
music. Within three years he had launched his
Midnight Rock label and, alongside more music under
his own name, he produced a series of classics by the
likes of Tristan Palmer, Anthony Johnson, Early B and
many more.
In 1997 he signed a deal with Acid Jazz’s Roots label
and since then his career as a producer has been
developed and anthologised; the release of a series of
archive King Tubby and Scientist mixes, the use of his
masters to be sampled by Nas (on ‘The Don’), Protoje
and others, plus reissues of his classic albums.
To celebrate 40 years of Midnight Rock, Thomas went
back into his tape archive to unearth another 10
tracks, either with original vocals or guest names
brought in.
Behind original rhythms recorded at Channel 1, Tuff
Gong and others, featuring the Roots Radics and The
Midnight Rock Band and mixed in places like King
Jammy’s and Tubby’s we are presented with a line-up
of stellar talent - Linval Thompson with the plaintive ‘I
Can Be Your Man’, the forthright Super Cat on ‘Me
Glad She Gone’ and Luciano on the rare ‘Good Thing
Goin’ On’. They are joined by Courtney Melody,
Pinchers and Joesy Wales, Daville and more. Keeping
the circle complete, Thomas appears on two tracks,
including the future classic ‘Sounds A Go Dead
Tonight’ with Junior Vibes.

"...a swirl of the bedrock elements that make up modern music, his LP lifts from Soul, Funk and Hip-Hop to create this ode to Detroit House."
A NATION OF MILLIONS

EARLY SUPPORT FROM ALEXANDER NUT ("Tight beats from Snips as always. Dexters Pain is my fave here. Big ups"), KARIZMA ("Proud to hear a friend grow musically, great work on the album my friend...Full Support. K'), RED RACK'EM, SK VIBEMAKER

SNIPS delivers the first vinyl release on Houseology. The Barbershop LP is a tongue in cheek play on the production techniques Todd Worsnip aka Snips normally uses when making his Hip-Hop work. This 8 track LP is meeting of the two worlds of House and Hip-Hop tapping into Snips' raw ability to find the best cuts and chops needed for any genre.

DJ Snips began his career at legendary London record store Deal Real', where he ran the open mic night alongside British host and comedian Doc Brown, Snips' years at Deal Real saw him DJ'ing alongside performances from several US heavy hitters including Kanye West, Mos Def and the Black Eyed Peas.

Snips' knack for manoeuvring through a wide range of Hip Hop oeuvres has seen him play around the world, Specifically in NYC where he has been a guest at legendary parties including Everyday People, Bible Study, Mobile Mondays and Ginny's Supper Club. As well as being a regular in NY, Snips has also headlined events in The Philippines, Australia, Germany, Hong Kong, The Netherlands, Qatar, France, Norway and Spain. When Snips isn't touring or on the Club circuit, he's known for churning out beats for some of the most talented MCs on both sides of the Atlantic. His production work includes tracks for several major US recording artists including M1 (Dead Prez), Capadonna (Wu Tang), Sean Price.

Work on the Houseology record label allows Snips the opportunity to articulate himself even more so within his skilled production, by drawing a definitive line between the House/Hip-Hop relationship which has existed for years.

Deepology presents the final EP of the ‘Four Seasons’ series. Four releases, vinyl only, each corresponding to a specific season of the year. Quality deep and underground house gems from past and present.

Mr. Fedor Velyaminov aka Cossway, a Russian producer currently based in Paris kicks things off. ‘Raw Feelings’ is an ethereal journey exploring the depths of deep and tech house whilst firmly placing its sights on the dancefloor appropriate.

Next up Andrey Djackonda & Minube, our friends from Moldova. These guys have got groove and style in abundance. ‘Softly’ is a modern minimal interpretation of deep house, ranging from more traditional house vibes to somewhat abstract deep and dreamy moods.

On the flip side, Erefaan Pearce, a legend of Cape Town house music in collaboration with Perspektif let loose ‘H O U S E’. The track originally appeared digitally back in 2010, but this is the first time it has been pressed to vinyl. True classic deeeeep-house gem.

Finally, a lovely tune by Dance Chance Romance, a contemporary dance music project by Kyoto DJ and producer Yusuke Yamamoto. Having released more than 20 vinyl albums on various labels around the world his work is not influenced by trends and is highly valued for its unique sound.

Limited Edition of 300 copies. Pressed on black vinyl with white disco bag.

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

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

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

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

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

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

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

The first release from Certain Sound is a collaborative effort, the result being two stellar tracks from the dynamic duo; Producer, DJ and label owner Barry Manalog, with MC and all-round wordsmith Ash The Author.

Side A, Cloud Riders, is a light and poetic number. The production oozes those jazz stylings reminiscent of that classic Hip Hop vibe, something to nod your head to on a late night. Ash's lyrical content is hopeful, and dream filled, rising above the clouds like Superman with his Lois Lane. Smooth as butter, the production and vocals go together effortlessly.

Side B, Extraterrestrial, completely flips the script! Whilst side A had us riding through the clouds, Side B completely blasts off and takes us out of this world! The production is gargantuan, heavy drums, haunting samples, it hits you like a slap in the face! Ash comes in on exactly the same tip, a relentless barrage of wordplay and punchlines. Venomous, but still with that slice of wit we've come to love him for, Ash's hunger really comes through on this track! To top it off, we have some seriously ferocious cuts from veteran turntablist DJ Chud, from the legendary Steel Devils crew.



DJ/Radio Support
All City Show/ with interview, Blatantly Blunt, Disorda, Fatp, Realness Radio, 1XTRA, Hatter Saturday Sauce, Boot Records show, Chud on KANE FM, Cypher Lounge Show, BBC Intoducing,Trackside Burners, DJ Madhandz Itch FM, Captain Co, Brick Celly, Hellfire Corner, Deejay Random, Jazz T, DJ Format, Soup (J5), DJ Madhandz.

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

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

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

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

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

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

This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.

On first hearing the A-side ‘Thembi’ (written by Ray Nkwe) ‎you’ll wonder why you haven't heard this song before, but simultaneously be struck with a sense of instant familiarity. It has a loose floating jazz vibe with echoes of 60's hippy, psychedelic soul-jazz qualities, and elements that remind us of acts such as The Deirdre Wilson Tabac. The vocal deliveries are stunning, hauntingly beautiful, and from a place where it is hard to pinpoint just where this song originates.

The B-side, ‘Gwinyitshe', is also absolute fire. This song has gained more coverage and notoriety among South African music fans / collectors and DJ's over the years. It is a deep, pulsing soul-jazz-funk groove with another exceptional vocal performance that is relaxed yet engaging and spiritual, whilst managing to surf the instrumentation to perfection. 'Gwinyitshe' was written by one of the sleeping giants of South African music, Teaspoon Ndelu, who also plays on the record and whose material we can't get enough of here at Mr Bongo.

When you think you have all the records you need a gem like this resurfaces from the past, reminds you that you've only scratched the surface and there is still a wonderful treasure trove out there to enrich you and your music collection. So dive into The Toreadors world briefly, your day will be the better off for it.

• Official vinyl replica
• South African soul-jazz obscurity
• 'Gwinyitshe' written by Teaspoon Ndelu

This EP is a collection of Deep, Dark melodic and soulful Techno
All of the tracks were composed, mixed and produced by Matt Dubspun, a Long time Chicago DJ and Producer.

We start with “Nu Day” and are elevated to “Gracie” and on the flip we groove with “There Will Come a Time” and it’s rounded it out with Detroit Techno jam “Amid”.

All the tracks were created with hardware synthesizers and drum machines and are also available on Matt’s Apple Music debut album “The Quest For Soul”

The iconic album series Back to Mine returns once again in 2019 with the first DJ imx compilation from world dominating indie-dance band Jungle, showcasing their personal tastes for the after-hours. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back to Mine’s heritage for quality this edition comes with limited edition heavyweight vinyl and extra thick cardboard sleeves with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist’s influences alongside personal sleeve notes from Jungle.

The collection includes an exclusive track from Jungle themselves and takes the listener on an eclectic musical journey. From 90s disco by Merle to more recent house tracks by Manuel Darquart and Drumtalk. Bristol DJ Admin provides the percussion heavy ‘Space Cadet’ and the irrepressible Mocky supplies good vibes on ‘How It Goes’. There’s sophisticated pop from The Marias and Sam Evian and there’s some spotlight for modern jazz with tracks by Kamaal Williams, Mansur Brown and BadBadNotGood featuring Kaytranada. There’s also room for some gospel influenced soul by The Flying Stars of Brooklyn NY, lo-fi dream pop from Paul Cherry before ending with the always impressive HNNY.

To coincide with the series release, Jungle will embark on an extensive Back to Mine global DJ tour.

Two years after their first record came out, the crew operating legendary dance nights in Nantes are back on top of the new release pile. Two original tracks by Kanot and two remixes. Overall, their stylistic balance signature is maintained, although the gravity center is a bit more leftfield and poetic, a bit less dance-obvious. But that’s only in comparison to other material: any of the four pieces here can take a dance floor apart, played at the right time.

Hit & Run has a massive “star grabbing” feel, the synth and guitar surges sounding like as many jumps above the stratosphere, and the vocalizing choirs on top making it a definitive cosmic jam.

Turbulens is more earthy than spacy: drum breaks and big ass basslines bring out an irresistible leg shaking feel, the melodic guitars on top balance the vibe into that delicious moment when Caribbean sunsets turn the day into a warm a groovy night, certainly a party starter. The Pilotwings Remix is to the image of their added touch: trancy on edges but very far from easy or obvious. Constantly jumping above and diving under the line, it’s playing greatly with dancers’ feet, and eventually their minds.

Houseman Vidock delivers the most danceable material on this record. His strong experience as a DJ for parties focused on having people dancing freely for a long time is clearly audible. This slo-mo belter doesn’t need much advertisement, it just needs to be played to any dancefloor, be it at midnight or 8 am.

The first EP from Nottingham’s like-minded music collective, Plates.
Originally established as a record shop and now a record cutting studio and music community, this EP showcases sounds close to its core and original supporters.

A1 is a track salvaged from a box of long-lost cassette tapes dating back to the mid-90s, bursting with raw and uplifting grooves, a soundtrack to moody city nights in Nottingham. Facehugger a long-time friend and supporter of Plates, alongside musical partner, Mark Warden aka DeviantRIP brings a tearing live analogue jam mashed together on a Roland 202, 808, 909 and JD800 - ave it!

A2 offers a completely different take on the typical ‘jungle’ style. Citizen Griot, an already prolific local beatmaker, better known for his hip-hop grooves and collaborations with local rappers, brings moody and enchanting jazz club vibes over subtle but constantly moving breakbeats.

B1 is the first ever ‘finished’ track from Plates founder, DJ Squid who has spent the last 10 years focusing on DJing and wasting precious time. This tune dedicates his love for early 90s jungle, and hardcore with the roots of soul, rare groove, weird library music and the simplicity of hand-picked samples, an MPC 2000XL and a dust-covered Mackie mixing desk.

B2 brings you back down to earth in a smoky spaced-out back room courtesy of long-time crate digger and local hero Mr Wilson. Head-nodding beats cushioned by a soothing bassline and hypnotic chords that surround you and carry you away to another dimension that is neither new or funky.

This record is dedicated in memory of Rita, Philpotts, Pete Woosh, Adam XTC and Harry McCormick.

Known for a series of beautiful records released on some of the best labels of the past years (Comeme, Dark Entries, Cititrax, Pinkman), Romanian producer and DJ Miruna Boruzescu aka Borusiade knows how to create ethereal tracks, somewhere between post-wave, techno and industrial vibes.

"Purge", the new EP for Tripalium Corp, is about heart-break in forced isolation, when the only way to stay sane is purging through music and lyrics. From the 80s synth of "Let Go" to the experimental ten-minutes-trip "Haunted Evolution", these five tracks are talking about of one's coping systems in extreme emotional situations, hope and power to move on and last but not least, learned lessons and empowerment.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. RIYL: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

LTD. BLUE & PINK SWIRL VINYL

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. RIYL: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

Ol’ Burger Beats & Vuyo – Norway’s latest dream team in terms of soulful and jazz-vibed HipHop music with thoughtful lyrics and attitude – present their full-length debut album “Dialogue.” via Jakarta Records.

The prolific German duo are back with a new 7' release, following up their last EP "Sofea", which included a remix by Dj Spinna. The A Side features the banger "You Got It Baby", a revamped & boosted interpretation of the original version, previously released only on CD in 2009, and available for the 1st time on vinyl. This song really established the "Modern Funk" sound, and solidified First Touch as pioneers of the movement. The B Side "Crampjuice" oscillates between Funk & Electro vibes, with thumping drums and the classic First Touch aesthetics; refined and sophisticated grooves. A 7" that will never leave the bag.

Gerd Janson, Lexx, Bell Towers, Belia Winnewisser, DJ Kaos and Never4ever remixed Ethimm’s By Night EP.

We all know Nights are nicer when you are with your friends, so Ethimm asked some of his old friends and favorite acts to remix his recent EP ‘By Night’. Quite a few hopped on the bandwagon: Germany’s most prolific remixer and DJs DJ Gerd Janson turned Ethimm’s ‘Lies’ into a relentlessly deep and driving house cut with drums reminiscent of New Order. Balearic boss Lexx stripped the track down to its bare vocal and rebuilt it with a 90ies New York vibe. Bell Towers added his prototypical leftfield approach to ‘Don’t Go Away’, while Berlin’s legendary DJ Kaos remade it into a classic acid stomper. The remix EP is completed by newcomer Never4Ever’s breakbeat treatment of the same track and swiss experimental queen Belia Winnewisser’s treatment of ‘Island Jam’.

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli.

We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la Jean-Claude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a Reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style.

This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte.

As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

DJ Trace founded 117 records in 2013 and now drops his first solo release on the imprint with 'Retox' this winter. Deep rolling techstep is the vibe, each track a reflection of moments from the raves of the 90's. Now that the world faces an uncertain and dystopian future, Retox can provide a suitable soundtrack.

Available in 2x12inch clear or black vinyl. Mastered by Simon @ The Exchange.

Clear Vinyl

DJ Trace founded 117 records in 2013 and now drops his first solo release on the imprint with 'Retox' this winter. Deep rolling techstep is the vibe, each track a reflection of moments from the raves of the 90's. Now that the world faces an uncertain and dystopian future, Retox can provide a suitable soundtrack.

Available in 2x12inch clear or black vinyl. Mastered by Simon @ The Exchange.

Second installment of the Parisians Get a Room! on Insane Dances label.
This time the duo deliver two original tracks on the A side and have given the task of two remixes to I:Cube on the B side.

A1:The EP opens with an exotic dubby slow-mo track with a Cajun vocal sample gimmick supported by a heavy acid bass-line.

A2: New-beat is the key word here! A late mid tempo 80's Belgian beat style is mixed with Eastern influence to remind us of the Belgian good times sound.

B1: I:Cube gives us two different remixes of A1 "Cochon Toi Même" on the B side. The tempo rises into a dubby ethnic tribal vibe. Perfect for the late DJ set.

B2: A reinterpretation of "Cochon Toi Même" again, but this time with a more 90's feel. A fast light break-beat rhythm takes us on a psychedelic space journey, full of fxs and spacey pig sounds for the more adventurous

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.