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Purple Color Vinyl

We are really proud to introduce a new release on Mawimbi Records: "Mawimbi, Vol. 2”. Its title is a nod to “Mawimbi, Vol. 1”, which was the inaugural release of our record label back in 2015. A new compilation, at last, after a decade of music activism and a handful of EPs and albums which have helped unearth some of today’s talents from the new global music scene (Onipa, Loya, Afriquoi, Raz & Afla). It stays true to the driving principles of our artistic direction: support upcoming artists, e ncourage the breaking down of musical frontiers, help make happen new encounters between electronic music and so-called “afro” music. While these encounters can now be witnessed anywhere in pop music’s current zeitgeist, from Beyoncé to South African’s vibrant amapiano scene, we think there’s still plenty to explore.

“Mawimbi, Vol. 2” truly feels like the culmination of a long path for our record label. Because it includes artists who have been actively contributing to the Mawimbi adventure over the years, and also because it’s another convincing testimony of the fruitfulness of this musical intuition we have so heartily been defending for the last decade. Indeed, the 8 tracks of “Mawimbi, Vol. 2” resist all the usual labels. They sound like they stem more from human encounters and artistic dialogues launched in the moment than attempts to be associated with any music scene in particular. Each of the 8 pieces of this compilation presents in a unique way the search for this cross-pollinating sound.

The compilation opens with a really engaging rework of James Stewart’s classic track “Cotonou” by Lyon-based tropical music enthusiasts Voilaaa, who took Peter Solo’s voodoo soul lines on a trip across the Black Atlantic beginning with a horn-heavy cuban cha-cha-cha before falling into a savory triple time dance. As tireless sonic adventurers, Amsterdam-based duo Umoja have brought back a handful of hits from their numerous trips to Kenya meeting with local benga musicians. “Avana Va” is one of their compelling tunes, featuring Kenyan musician and producer Sidney Simila. This urge to collaborate with musicians from across the African continent is also to be found in Village Cuts’ ever expanding discography. On “Sentima”, they showcase their trademark London funky sound, introducing us to the talents of Congolese guitarist and singer Kissangwa.

Afriquoi’s 2020 hit “Ndeko Solo” is presented in a brand new shape, sprinkled with some French Touch flavours. “Djansa”, by Toulouse-based producers Mr. Boom, rides a distinct South African-inspired groove, while inviting us to a nighttime dance by the Balearic sea. On “Silent Runner”, French producer and musician Ozferti moulds his own musical galaxy where East African scales meet cutting edge global club beats. With “Nabi Kumi”, Anglo-Ghanaian duo Raz & Afla delivers their deepest piece, once again inducing a state of trance with a triple-time beat and an hypnotic kora loop. Closing the compilation, “It's Holy” is a unique collaboration between Tom Excell (Onipa, Nubiyan Twist, David Walters) and Dizraeli, one of the most interesting voices in British rap, which by making connections between broken beat, jazz and african music, illustrates the precious mixture of musical aesthetics that make up the current UK musical landscape.

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

The Solo MC’s kicks off with Harlem’s pioneering Spoonie Gee’s influential “Spoonin’ Rap” from 1979. “Catch The Beat” from T-Ski Valley captures the post-Disco Bronx era of Rap. The side closes with the underground personality Funkmaster Wizard Wiz whose “Knucklehead Rappers” came after he broke from The Undefeated Three. Brooklyn’s Jimmy Spicer delivers a 14+ minute marathon “Adventures of Super Rhyme (Rap).” Grandmaster Caz from Cold Crush is paired with the Fantastic’s Whipper Whip for “To All The Party People” Captain G Whiz from Freddy B’s Mighty Mic Masters closes with his solo 12” track “All The Way Live.” The bonus single features a Kool Keith solo from the Ultramagnetic MCs backed with Grandmaster Caz by himself doing “I’m What Is and You’re What Wants To Be.” Track Listing: A1 Spoonin' Rap-Spoonie Gee; A2 T-Ski Valley-Catch The Beat; A3 Funkmaster Wizard Wiz-Knucklehead Rappers; B1 Adventures of Super Rhymes-Jimmy Spicer; B2 Grandmaster Caz with Whipper Whip-To All The Party People; B3 All the Way Live-Captain G. Whiz; Single A: Ultramagnetic MC's-Kool Keith Wild; B: Grandmaster Caz-I'm What Is Your What Wants To Be

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
credits

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.

Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.

The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.

In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.

The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

T4T LUV NRG presents “Name It”, the latest album by Oakland’s Bored Lord, aka DJ Daria. The internationally beloved producer and DJ has created a truly stunning album of impeccably produced and mixed work, each song an enticing chapter in a complexly woven story about love. This album of uninhibited, hook-laden tracks conveys a narrative of love that is not only romantic and personal, but also communal and familial— a love that refuses to limit itself to just two people, but instead spills forth into the world, embracing everyone open to its power. With her emotive, tenacious album, Bored Lord reminds us that to truly allow yourself to be enveloped in desire, you have to endure the pain that comes alongside it. You have to adapt and stretch yourself in order to experience the immense growth love has to offer. You have to believe there's more to this world than suffering and isolation. You have to look within and accept whatever you find, even if it is ugly or difficult. Love is the peace you find amidst the chaos of living, and it doesn't just fall into your lap. You have to want it. You have to be ready for it. And if you are ready, you have to name it.

As a producer known in no small part for her edits, Bored Lord presents “Name It” as a work undeniable in its artistry, completely authentic in its messaging, and absent of the industrial notion of production. The songs on “Name It” have instant hooks and each is deeply inspired by the genres Bored Lord loves—broken beat, drum n’ bass, jungle, UK bass, Florida breaks and house among them—but rather than simply reproducing, these tracks expand each genre beautifully. Daria’s technique is decidedly hardcore, with samplers, romplers and a bone dry aesthetic, each song and sound all her own. In the artist's own words “I want the industry people to be confused while the ravers understand the very moment they press play. I want to challenge everyone to name it.” And we expect that indeed they will, play after play after play. Now, close your eyes and believe there is more, more, more….

repress !

Since bursting onto the scene with their multi award-winning compilation ‘The Stanton Sessions’ back in 2001, the Stanton Warriors irresistible and inimitable sound has consistently remained the soundtrack to some of the world’s biggest and best parties; from East London warehouses, Miami boat parties and illegal Detroit raves, to smashing up the stages of Coachella, Glastonbury, Burning Man and Ultra, selling out global tours, topping DJ lists and arguably having the largest number of band logo tattooed fans in the world!!

In the studio, Bristol’s Mark Yardley and Dominic Butler have honed a trademark, uncategorizable sound that is at once all their own, but also utterly indefinable, leading to high-profile releases on XL Recordings, Fabric, Cheap Thrills, Central Station and Universal, alongside official remixes for everyone from Daft Punk and Fatboy Slim, to MIA, Gorillaz and Danny Byrd. This phenomenal output and remarkable longevity have ensured the Stanton Warriors legendary status amongst not only their fans, but also their peers.

Stanton Warriors 2015 album ‘Rebel Bass’ featured a host of new & exciting bass artists such as Cause & Affect (aka Chris Lorenzo & Kane), which went to #1 in the Apple Music general album chart and Top 10 in the iTunes dance album charts in eight countries.
They also continued their sold-out tours across the USA, Europe, Australia and the Far East, collaborations on Claude Von Stroke’s Dirtybird label and a slew of exciting releases on their own tastemaker label Punks.

‘Rise’ is Stanton Warriors strongest album to date, with all twelve tracks ready to set dancefloors alight. Stanton Warriors have called on some of the scene’s most exciting and diverse artists to collaborate with – across hip-hop, grime, house, dancehall, drum’n’bass. Featured artists include Foreign Beggars, Stush, Taiki Nulight, Sian Evans, Ami Carmine, Keith Thompson, Lily McKenzie, Danny Dearden and Scarlett Quinn. Each track on ‘Rise’ showcases Stanton Warriors’s trademark rolling breakbeatbass sound.

Also included in the package on disc 2 is their ‘Rise DJ Mix’ that contains a selection of new remixes of tracks from their previous albums, releases from their own label Punks artists inc Plump DJs, Chris Røyal, Cosella & Vanilla Ace & tracks from Rise, remixed by the Punks family, plus an unreleased Stanton Warriors remix of Danny Byrd – Salute.

The vinyl format is a double LP cut onto heavyweight vinyl.

They remain fresh, original and relevant, obstinately dancing to the beat of their own drum, helping to pave the way for new talent, proudly ploughing their own genre for twenty years and as the new album title points to, still continuing to rise.

Been a long time coming for some of these tracks. We've had many requests for each one and hyped to share them on vinyl for the first time! You might also recognise from mixes including last years HOR appearance.

Skippy, trippy, breaky, housey belters from all corners of the world - Buenos Aires to Paris, Sydney to Forres, London to Oslo (via Delhi)

Repress!

Amsterdam's The North Quarter releases an EP by enigmatic artist LIN000 who delivers a stripped back, Techno inspired four-tracker; LIN001-004.

Exploring minimal and experimental dance music, LIN001-004 was approached with a “less is more” ethos – and without conforming to current trends. Just 4 DJ-tools, each based around strong motifs, with depth and texture, and each with a strong individual identity.

tom Ravenscroft at 6music amongst others. And now, in true AMO1 creative fashion they are presenting an off-shoot release of that album, one completely reimagined by the man, the myth: Ricardo Villalobos.
Much has been written and talked about when it comes to producer/DJ Ricardo Villalobos over the years.
The mercurial Chilean-German artist has consistently redefined the boundaries of techno and electronica over the past 30-years as a producer, whilst also traversing the world and expanding minds as a DJ who can equally delight as he does challenge.Like a great jazz drummer (he was a percussionist before discovering mixing records), Villalobos has not so much as broken “the rules” of structure as just created his own unique approach. One that is often surprising, ever open-minded, and clearly lead by whatever happens to be inspiring him at any given moment. Watching him work or hearing him play music always feels live and free. He’s an artist. And that is exactly how this (perhaps unlikely) collaborative album has come to light – but then this is Ricardo, so maybe we should all know by now that anything is possible.
Villalobos explains, “In my scientific search for some electroacoustic musical landscapes, the offer of remixing ‘Black Apple Pink Apple’ was just perfect for me… In general, the song writing is so very good and particular, with all the instruments played into a sequencer, so it was very inspiring to strip down these pop songs into my dubby extensions, taking only the drums, bass, and vocals of the song.” Expanding further, “After delivering the first remix, Mo and myself came up with the idea of reimagining the whole album in a new way, mixed simple with other ears and my inspirations, with a new and different point of view of what instruments are important to hold the song to bare itself.”
It says a lot, and somehow captures the essence of Ricardo’s approach to music (and life), that one remix soon evolved into a whole plethora of reimagined works, driven by a creative slipstream and a clear connection to the songs created by A Mountain of One.
Mo Morris provides more insight into his own connection with Villalobos, “I lived in Berlin back in 2002-04 and used to religiously go to dance to Rici at the after (after) hours parties: little, tiny events. And he just used to blow my mind, I hadn’t heard anything like it before (or since). Ultra-modern and forward thinking.”
Mo continues, “A good friend connected to Ibiza happenings introduced me to Ricardo as it transpired that he was a fan of our early material, so I sent him some demo’s when we were in the studio creating ‘Stars Planets Dust Me’ and he loved ‘Black Apple Pink Apple’. The relationship and collaboration grew from there really, and I hope that this release is still at the start of what we can all create together.”
Focussing in on the album at hand – ‘Ricardo Villalobos reimagines: Stars Planets Dust Me’ – we are treated to a concept listen that guides us from dreamy daytime Balearic pop – staying very true to the original songs – all the way through to completely original deep dubby techno excursions. And to Villalobos fans, it will perhaps surprise (and hopefully delight) how light a touch he has provided to the opening tracks, focussing more on enhancing the sonics, and allowing the originals to shine brighter through remastering and mixing down. It’s in these moments that we see Ricardo as a pure music fan, needing not overly change or alter what’s already been created, but simply doing what he can to maximise what’s already there.
What will certainly delight Ricardo fans are the four full ‘klub’ remixes provided of ‘Black Apple Pink Apple’, ‘Make My Love Grow’, ‘Softlanding’ and ‘Dealer’ that each boldly explore the outer regions of the dancefloor in a way that only Villalobos can.
Mo rounds off, “From an electronic and sonics standpoint he’s kind of out there on his own. It’s such a unique sound. Weatherall also had this, and Harvey has that unique flavour, and also people like Nils Frahm and Max Richter have this gift. It’s not an easy thing to produce. Ricardo has his own personal cosmic trademark.”
Indeed he does. Take a trip with him around the stars and planets and see for yourself.

REPRESSED 2x12" now with bonus download code! Heavy, heavy tunes! Studio One instrumentals are the foundation of Reggae. These rhythm tracks became the basis for all Dancehall as countless artists and producers re-versioned these classic Studio One instrumentals.

REVIEWS: "Sheer volume of output from Studio One is astonishing, combined with the fact that the quality of the recordings never seem to diminish. These instrumentals touch on ska, rocksteady, dub, and begin to hint at the reggae sound of the late '70s. Each instrumental is perfect and has the feel that it could hardly be improved upon. Soul Jazz has once again put together a wonderfully rounded collection of music from Studio One" - All Music.

"I think if a nuclear family could have a soundtrack, ours would be the Soul Jazz comp Studio One: Scorcher. I wouldn't say it's the best record ever made, but if I heard it every single day for the rest of my life, I'd be 100% cool with it." DJ. & "Compilation of essential & rare Studio One instrumentals" - Hard Wax.

"Studio One Scorcher is the latest of these, collecting instrumental tracks spanning the years from the late 60's rocksteady vogue through the onset of dancehall and digital rhythms in the early 80's featuring The Skatalites, trombonist Don Drummond, Pablove Black and others." - Billboard.

Dreamers have dreamt for as long as domes have fallen, bobbing musical swells from Stephen Foster to the Everlys. Now here comes that beautiful dreamer JOSEPHINE FOSTER and, sugarpie, she's not the same. She has donned her magenta vestiments, dreaming back, with mossy verses that haunt like a name never called. It's not just Jo and her shadow, though, this time around-she's got a gaggle of Nashville cats on hand to coax spidery cathedrals from these campfire jams. Folks will want to call this her "Harvest" - with its harp and pedal steel, its double bass and cascading piano. And it's true, "I'm a Dreamer" beckons with a gentle hand, each note clear and crisp so that one feels each grain. Amid such delicate charms, however, lurk muses with rotting flesh, ugly ducklings and Djuna Barnes, wooden floors upon which no babies will be rocked. Wily is the heart that wanders filled with duende and desire, that rides the thigh like a parlor guitar when a strap just isn't handy. These are songs comfortably at home in salon or saloon, dreams deep enough to bury your dread - as sorrowful, as sexy, as stirring a set of songs as anybody's dreamt up in ages.

“Azazel” is the second vinyl release of this year and the EP debut from Priorato (MX), with some interesting and outstanding remixes by Colossio, Ludviq, and Chinosynth. This vinyl release will offer a diverse range of remixes, each bringing its own interpretation and style to the original track "Azazel".

A1. Led by Rubén Torres, a DJ and producer from Ciudad Juárez, Chihuahua, focusing on indie dance and techno, the original track for "Azazel" is characterized by a solid bass sequence, hypnotic vocals, and a blend of electronic and organic elements.

The song creates an enigmatic and immersive atmosphere, gradually building a powerful and addictive groove, it offers a musical experience that transports listeners to a trance-like state, inducing feelings of euphoria and escapism.

A2. For the first remix we have the honor to have again on board Colossio, he’s also known as one of Mexico's most talented producers, with previous releases on labels like Duro, Calypso, and Exit Strategy. His remix of "Azazel" is expected to bring a mix of high energy and darkness to the track, showcasing his signature style.

B1. Originally from Guadalajara, Mexico but now based in Barcelona, Spain, Head honcho Ludviq, delivers a remix that promises to be energetic, groovy and psychedelic, incorporating unconventional percussions and sounds recorded from the city chaos and nature calmness environments.

B2. Based in Culiacán, Mexico, Chinosynth's remix aims to infuse a human touch into the track by incorporating analog sounds from studio instruments such as guitars, bass, and synths, while maintaining a dance floor-oriented vibe.

Structured Records presents the continuation of their previous work, signed by The Wire Alliance, untitled "Mathspace."

The new EP consists of 4 solid and impactful Techno remixes, where the diversity within each track defines this 12-inch as the perfect tool to set the dancefloor on fire.

Silez, Swarm Intelligence, Rommek, and Irrational Language dive into a whirlwind of drones, aggressive rhythmic patterns, exquisite basslines, and other sonic elements that creatively and deeply dissect the original songs.

A compilation that at times sounds reminiscent of early 2000s Birmingham, while at other times injects a sound closer to IDM, all without straying from its own essence: precise Techno execution, without frills or pretensions but with a lot of personality and a clear direction—to provide timeless material for the most demanding DJs.

Structured Records' new release is here to stay in your record collections. And we're not just saying it, just hit play. We love what we do. Enjoy it.

Jake Muir's latest set of soft-focus, sensual electro-concrète, dissolves X-rated gay sleaze flick soundtracks into a shimmering suite of subdued orchestral flourishes and surreal cosmic psychedelia.

Back in 2020, Muir put together a 90-minute mix for Honey Soundsystem, blending tracks from Kelman Duran, DJ Olive, Daniel Lanois and Terre Thaemlitz with obliquely camp dialog samples from vintage gay porn. The idea was to represent queer sexuality in a looser, more experimental manner, grazing the super-sensory pleasure of the bathhouse experience and the illicit joy of cruising without getting too self-serious while doing it. The mix was so popular that Muir followed it up with a weightless sequel two years later, and began developing the concept into a proper album, using more samples of music and dialogue, eventually performing the piece at the esteemed GRM as part of their FOCUS #4 concerts alongside work by Eliane Radigue, Folke Rabe and Chris Watson.

Bathhouse Blues is split into two side-long pieces that wash and ripple with nervous tension and discreet salaciousness. Opening with a familiar theatre sting, there are echoes here of kosmische and experimental electronics on 'Cruisin’ 87', fashioned into puddles of syrupy, back-room ambience. Occasionally we hear lascivious words thru the fog, men mumbling to each other before sex. "That's beautiful," a voice mutters over a dusky cricket chirp on 'Pipe Dream'. "It is," another replies.

Muir's sonic treatment is suitably explicit, like a 1950s Hollywood jump-cut to a train going into a tunnel; he takes the whole-body, mutual release of queer sex and interprets it with heady gestures, peppering jazzy rhythmic frostings into basins of skewered drone and gurgling synths. His sound is coloured by the pleasure of physical touch, a mussy flux of high frequency scrapes and caresses juxtaposed with woozy, dubbed-out fondles and thrusts. Who said the GRM was buttoned up?

After a quarter-century hiatus, the legendary jungle artist M-Beat has resurfaced with Mekatune, his newly established label. Mekatune serves as a platform for unveiling not only his extensive back catalog but also fresh, innovative material from himself and other luminaries of the jungle music scene.

This exclusive boxset comprises five vinyl records, each elegantly housed in a black paper sleeve ensconced within a high-quality, 3mm-spined card housebag. Renowned DJ Mag designer Martin Brown has lent his artistic touch to each housebag, featuring a captivating montage of M-Beat's illustrious history spanning three decades. The reverse side of these housebags reveals an in-depth interview conducted by Dave Jenkins, delving into M-Beat's origins, his prolific career, and the enigmatic disappearance that kept fans in suspense for so long. The five housebags nestle snugly within a beautifully crafted card slipcase, forming a stunning piece of jungle and drum & bass history.

Moreover, each track in this boxset has undergone meticulous remastering by Dapz at Compound Audio and precision vinyl cutting by Beau at Ten Eight Seven Mastering, ensuring an unparalleled audio experience. These 20 handpicked gems represent the pinnacle of M-Beat's discography, each highly sought after and commanding a premium on Discogs. With a limited run of just 500 units, the majority of which have already been claimed through pre-sale, this is a rare opportunity to own a piece of music history. Once sold out, there are no plans for a repress, making it an essential addition for collectors and jungle music enthusiasts alike.

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Repress!

Here's some revisions of early tracks which I started whilst living in Bristol, before moving to Berlin. You can clearly hear decades of the city's influence, mad to think you'd see DJ Die bouncing around Stokes Croft on the rego, or spot Daddy G picking up some fish at the local market on my walk into work each day. Such an inspiring city that's always on the move. Shouts to the 'diff don DJ Guy on the version.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

Gottwax is back with its seventh instalment, and this time, the reins are in the hands of the Beeyou co-founder and FUSE regular, Laidlaw. Laidlaw showcases his unparalleled talent and versatility as a producer in the 'Prophecy' EP, solidifying his status as one of the rising stars in the scene. This four-track EP takes listeners on a journey through deep house, stripped-back grooves, and breakbeat, making it an absolute essential for every discerning DJ's collection.

The EP kicks off with 'Wait Till The End,' a deep house gem with a playful bass line, moody chords, and sparkling top notes. Each element is thoughtfully crafted, blending harmoniously to create an atmosphere that subtly builds throughout the track. 'Wait Till The End' is a flawlessly realised tune, serving as an incredibly strong start to this EP.

Next up is 'Planet 727,’ is a minimal groover with deep, subby bass and hints of tribal drums, infusing the rhythm with captivating movement. This track is one for late-night, ensuring the dance floor keeps moving till the early hours.

As the title track of the EP, 'Prophecy' does not disappoint. This groove-laden breakbeat track is brimming with deep sub bass and intricate textures, leading into an infectious melody. A must-have in every DJ's bag, 'Prophecy' will undoubtedly be the soundtrack for countless future parties.

Closing out the EP is 'That Was Well Quick,' a high-energy composition adorned with mesmerising melodic textures. With its hypnotising baseline groove and captivating top lines, this track creates an infectious atmosphere, injecting an electrifying energy into the dance floor. 'That Was Well Quick' is an absolute essential for all devoted electronic music lovers.

We are beyond excited to welcome Laidlaw to the Gottwax family and share this incredible release you. Prepare to be taken on an unforgettable sonic journey with the ‘Prophecy EP’.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

The Good People, consisting of producer Saint and lyricist Emskee, hail from Brooklyn, New York. The dynamic duo brings a fresh take on the nostalgic elements of East Coast hip-hop. The Good People are coming off of two acclaimed albums, each showcasing their soulful instrumentals and flawless lyricism. In 2019, the duo dropped Good For Nuthin’ featuring Large Professor, Lilí Fame, Sadat X, Napoleon Da Legend, Cella Dwellas, G-Roc and Red Alert. They followed up with The Greater Good in 2021 featuring Lords of the Underground, Shabaam Sahdeeq, Craig G, Rasheed Chappell, DJ C-Reality, DJ Ace, Tone Spliff, Mikey D, Skanks the Rap Martyr, John Jigg$, DJ Eclipse, Rockwelz, Mouf and Nam Nitty. Now, The Good People bring you the new limited edition run of A Good Year. In 2022 they dropped a new single digitally every month which would become the tracklist for the new album. The new 12-track album features Dinco D, Charlie Brown, Makeba Mooncycle, John Jigg$ and Bobby J From Rockaway and is the perfect addition to their growing catalog

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

- Each record includes a download code for the release + 2 digital bonus tracks -

BlueBox is the first of its kind! The new colored series on Front Left by Elad Magdasi.

Elad is going back to his roots while trying something new. Keeping a balance between his serious and playful side, the release includes 4 DJ tools that are different yet embody Elad's sound in every way.

All the tracks are named by their position on the record, similar to the oldskool way, focusing on the music alone.

All BlueBox tracks were produced at the same time, on the same wave of inspiration, they compliment each other though being completely different.

Front Left Love.

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.

Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.

Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.

Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.

'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.

In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.

The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

EACH COPY Personally SIGNED BY LEN FAKI

Len Faki has always been a defining character of the techno underground. His unique approach to DJing, the consistent work as a producer and the quality output of his label Figure has all shaped the current environment.
Starting out as a clubber in the 90's, his inspirations have always reached back to the first encounters with electronic music, when new worlds opened and everything seemed possible.

While these experiences have always influenced Faki's productions and used to be released under many different aliases back in the day, they have been waiting since to be made into a proper album under the Len Faki moniker.

After quickly climbing to the top of the international DJ circuit, busy touring schedules never quite allowed for it. Finally faced with the opportunity of a long overdue creative break, Faki decided tackle the life-time venture with the necessary dedication and focus.

Excited about the new project, he also took the time and energy needed to expand his production methods. Finding new techniques allowed him to truly bring all his different influences to the surface. The process was one of following his own heart, occasionally challenging and surprising himself. Naturally the result emerged as two parallel experiences, which are now presented across two discs. Both still carry all the signature features of Faki's style but with added layers of depth and detail. There's that special contrast of dark and heady grooves, paired with dreamy melodies that transport the listener to places beyond the mind. But we also see all strains of his previous work being incorporated, mixed and molded into something new altogether.

While the first disc focuses on the kind of techno, which Faki has been brought up by and given back to for so many years of his life, the second is more loose and experimental, with forays into house, ambient and broken beats - the sounds he has always kept very passionate about.

It creates two distinct experiences, showcasing the entire breadth of Faki's cosmos. Where some ideas stay straight and kick hard, like the neon bleep opener Tor 8 or joyfully booming Astra, others take the newfound freedom to inspire a wistful broken beat ballad such as Hymn (In the Name of Fantasy) or the soulfully subdued Drum & Bass closer Voices.
Many songs even exist as pairings, with their respective counterpart on the other disc. For example, the duo of Shri Yantra/Yantra, where similar soundscapes have been looked through different lenses, making for a more straight-laced or shuffled rhythm. Also noteworthy are Faki's appearance as a veritable house producer on Hymn (In the Name of Freedom) as well as the inclusion of two very personal pieces:
The Halide tracks were made in remembrance of Faki's late mother, who passed away during the final production stage of the EP. These delicate tracks capture the intense sadness Faki was feeling at the time and helped him to process his grief and eventually to finish off the album.

By doing so Faki has given us a complete artistic statement, one that proves him to be as curious and driven now as ever, taking his sound to all-new realms.

ATA Records are proud to announce this new double A-side from The Sorcerers featuring, on the flip, the first release by The Outer Worlds Jazz Ensemble.

Exit Athens marks the start of a new era for The Sorcerers. Continuing their investigations of Ethio-Jazz and 60s and 70s European library music, the group is now formed around Joost Hendrickx (Kefaya, Shatner's Bassoon, Abstract Orchestra), Richard Ormrod (saxes, flute & keys) and ATA label head, bassist Neil Innes. Exit Athens features a driving funk engine room with exotic percussion, vintage keyboards, and the classic Addis Ababa combination of vibes, flute and horns. The aim is to double-down on previous album successes The Sorcerers and In Search of The Lost City of The Monkey God, expanding their tonal palette whilst tightening their focus, with the intention of producing multiple albums of solid analog cuts, every one of which will appeal equally to DJs and audiophiles alike.

On the AA side, Beg, Borrow, Play marks the debut of The Outer Worlds Jazz Ensemble. The first in an ongoing series of 45s and LP issues, each Outer Worlds release will feature the immaculate grooves of the hard-working, unsung sidemen of the Leeds Funk, Latin and Ethio/Afrobeat scenes. The Outer Worlds series was conceived to feature visiting soloists who have made a beeline to ATA in search of a specific setting for their material, and represents ATA's ambition to encompass the very best in contemporary jazz/club/rare groove/exotica sounds.

Beg, Borrow, Play kicks this off with ATA veteran Chip Wickham on baritone sax, and a slice of jazz exotica that owes as much to New Orleans Street Beat as to the Eastern moods of artists like Yusef Lateef and Ahmed Abdul-Malik. The result is loose and limber, with horns reminiscent of classic Art Ensemble of Chicago, and will appeal to fans of contemporary Afro-Futurist fusions

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023