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Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

'Resonate,' Lettuce's seventh studio album, is a sonic continuation of the acclaimed sextet's 2019 GRAMMY Award-nominated album 'Elevate,' which earned Lettuce their first collective nomination in the category of Best Contemporary Instrumental Album. The new, critically-acclaimed 11-track collection, featuring the singles "House of Lett," "Checker Wrecker" featuring DC go-go music legends Big Tony Fisher of Trouble Funk and Tyrone"Jungle Boogie" Williams of Rare Essence, and "NDUGU," plays like a master class in funk sub-genres. On 'Resonate,' Lettuce continue to be celebrated boundary-pushing innovators nearly three decades into their lauded career, blurring the lines and smashing it up with jazz chords, psychedelic passages, big horns, strains of soul and go-go, hip-hop elements and a joyful, uplifting improvisational sound all their own.

Middle Name Dance Tracks Vol 1 is the second release from Sampology’s new imprint. The Middle Name Dance Tracks project reflects standout live & club nights in Brisbane of recent years, where there has seen a steady cross pollination between the club and soul/jazz communities. The blurred line between these two musical worlds has delivered an array of diverse and joyful events for both artists and avid music fans.

This project is a collaborative creative effort between Sampology, Megan Christensen and Sam Stosuur. The recording process was live in nature with Megan on piano and keys, Sam Stosuur on bass/bass synth and Sampology on MPC drums and programming. Having live conga & timbale from Brisbane based Latin percussion staple Gus Cereiji glues the groove together. These sonic choices were inspired by listening to NYC early 80s disco labels, especially Prelude 12" releases, which balanced drum machine & synths as well as live studio musicians. Vocals on 'Only Joy' were recorded by Kerry Raywood. Vocals for 'Bless' come from Brisbane jazz vocalist Merinda Dias-Jayasinha. The combination of the Middle Name Dance Tracks trio and the additional Brisbane artists offers a specific music palette that’s live in essence, dancefloor in orientation, and magical in delivery.

Middle Name Records Dance Tracks Vol 1. artwork was created by artist Sue Poggioli, Sampology’s mother who also created the artwork for the 2016 Natural Selections EP.

Italian Disco remixer extraordinaire Moplen is back at the controls with a super sublime reworking of a wonderful and rare early 80's Leroy Burgess jam from the Salsoul vaults. 'Heartbreaker' is an underground classic, seeing Burgess back in the studio with longtime collaborator Sonny T. Davenport and Kiss FM mastermixer and producer Shep Pettibone on mixing duties. A tight and flawless early 80's production sensibility and the incredible vocal arrangements and lyrical performance of Leroy Burgess make this one a definite essential in any DJ's box. This is the real deal. If you dig that post-Disco electronic sound this one is for you, simply perfect in every way and quite tough to track down these days in its original form with copies reaching high figures on the second hand market. Needless to say, Moplen injects his own personal style into his remix and adds his unique flair creating an essential new version of this classic on the B-side. Always understanding, respectful and fresh, Moplen pumps 'Heartbreaker' in all the best ways, crafting a drum and bass heavy DJ version and new arrangement that you will be hearing for many years to come! Disco bliss.

This remix and reissue is 100% supported by Leroy Burgess, who dug Moplen's new vision of this 1983 classic. Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2020. Accept no imitations!

Horse Meat Disco unveil the latest preview of their forthcoming album ‘Love & Dancing’ with ‘Message To The People’, featuring one of the main co-artists on the LP, Amy Douglas, alongside soul trio Dames Brown. A record that started as an adaptation of the Shirley Caesar original, recorded in the studio with the Dames; Horse Meat Disco and Luke Solomon then headed to Amy’s native Brooklyn, where she wrote her verses sat at the piano for this sublime disco jam. This 12” delivery features remixes from some of the genre’s most revered artists, each turning their hand at this labour of love. Up first, unrefuted master of the edit Danny Krivit delivers a blissful, club-friendly extended version, making full use of the longer playtime with an elegant, journey-like mix. The Key-A-Pella follows, an essential DJ tool that allows Amy and Dames Brown’s vocals to really shine. The funk-fuelled Michelle Mix kicks off the B-Side, an empowering, uplifting narration provided by a sample taken from none other than former First Lady Michelle Obama, inspired by Chicago legend Kelly G.’s creative sampling on his Deeper Message Groove mix, the track that closes out the release. Kelly’s mix is a soulful, grooving affair with dreamy keys you can’t help but move to.

MP 4 Teruyuki Kurihara Frozen Dust

»Frozen Dust« is an album unified by the theme of »destruction« and »creation.« Inspired by the power of nature; we’ve expressed how we humans overcome the magnificent phenomena and impacts nature has on us - while it brings us joy, it can sometimes take away our lives and pleasures, We’ve incorporated this rather difficult theme by telling stories of fictional characters in the album; an adventurer in the Arctic region who confronts the threat of nature and survives between life and death, or a widow who never eases the pain of losing her sailor husband by a great storm in the Age of Discovery. »Frozen Dust« is our manifestation of »destruction« and »creation and each sound brings you the essence of it.


Reviews in The Wire, A Closer Listen, MixMag Japan, ResidentAdvisor Japan, African Paper and more

Interview in Data Wave

New album from the Parisian producer.

Label say:
Because, at La Creme Garcia Club, a private circle of discerning smokers in Barcelona, Blundetto was in heavy rotation in the playlists. So heavy that these people of good taste for legal activity on this side of the Pyrenees yet prohibited from profits, had the idea of becoming the privileged partners of a new album. Without scrutiny, without intervention in the artistic, but with a single watchword: let Blundetto return to his first love of world sound.

The result is a stereo trip illustrated by Mossy Giant's artwork. A trip around the world without leaving your couch.
An offer that cannot be refused.

Ten years had passed since Bad Bad Things; it was the occasion to celebrate this decade by reviving its state of mind. The one who mixes collaborations, atmospheres, and styles. Exiled to the green, in musical autarky from several albums, Blundetto has therefore returned to the rhythm of city life and studios. He has changed his way of operating, opened his repertoire, and invited friends to new titles that he had written for them.

The circle of intimates already present on Bad Bad Things (Hindi Zahra, General Electric, Chico Mann) has widened to include regular accomplices (Biga Ranx) and to extend to artists with whom Blundetto felt an obvious connection (Crime Apple, Leonardo Marques). Guided by this roadmap written by Blundetto, all succeeded in painting with their colors and spreading their musical soul in the project, either taking the rhythmic direction of Brazil, Africa, or Latin America, getting dizzy in Jamaican fumes or chopping at the salient angles of hip hop.

Dive into the new openings of Clément Petit’s arrangements, now more sophisticated than those on which Blundetto evolved, and now capable of bringing an orchestral dimension made of strings and brass, creating a direct opening on the emotions, an automatic generator of images to accompany the soundtrack by the producer Blackjoy.

Whatever the orientation, each guest becomes a unique and essential part while Blundetto remains the common thread, the cement and the final varnish of a musical mosaic called Good Good Things.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

Disco deliverance of the highest order once again from Moton Records Inc. Diesel and Dave Jarvis work their wonders on these three cuts with the A side taken in full by ‘US Lover’, a sleazed up, foot stomper of a boogie workout that’s straight sweltering from start to finish – just listen to that bass!

Flip it over to find two jazz funk gems made up of the beaming pinball concoction that is ‘Hysteric Glamour’, and the raw grooves, jaunty jazz keys and synth touches of ‘Marabou’. Essential, as always.

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

• Busi Mhlongo’s chart-topping, award-winning 1999 album
• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Kwanele Sosibo

Urban Zulu changed South Africa’s music forever, rewiring Zulu migrant roots music for the 21st Century. Busi Mhlongo’s powerful voice and challenging lyrics soar over driving bass lines and glittering guitars of an all-star South African maskanda line-up, backed by a multi-national cast including Lokua Kanza, Brice Wassy, Jacques Djeyim and Will Mowatt.

With this album Busi Mhlongo subverted and then claimed Maskanda music’s previously patriarchal space, voicing a new social blues narrative. Her songs cut to the essence of simple joys, unrequited love, abuse in the name of love, and month-end money blues.

Topping charts in Europe and South Africa, Urban Zulu struck critical and commercial success.

Yehlisan'umoya Ma-Afrika “creates a sensation of being inevitable because the riffs are so organic, it feels like it would be a crime against nature if they fell together any other way” (AllMusic).

'We Baba Omncane' became the sound track for a global Adidas campaign, while a later re-mix became a smash hit for Black Coffee.

Label say : We couldn’t be happier to put this disc out there. Kush’s first time on wax (his Strictly 4 My CDJs series on his Bandcamp site is essential) is four tracks that just relentlessly provide for the DJ in you. Representing the new era of NYC dance music along with artists like AceMoMa and DJ Swisha, mixing footwork and other influences with classic house and techno forms to get busy._

_The whole 12” is lethal stuff that recalls Dance Mania at it’s most melodic and spaced out, or prime-time Boo Williams. “Earth Note” pulls bright synths thru swinging Chi foundations, “Ari Dub” rocks the bells and the bass in Bronx fashion, “Worldly Rhythm” piles UR melodies and techno grandeur on a vicious bassline, and “Reso”
closes things out with a devastating mixer full of blue-hot string work. Relentless and essential. TIP TIP TIP!_

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.



Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage - a self-styled fusion Kamaal describes as Wu Funk.



New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.



Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

With the sole exception of Louis Armstrong, Nat "King" Cole was one of therare black artists to enjoy such celebrity in the Forties and Fifties. He began his career as a pianist, forming a trio in 1937 with guitarist Oscar Moore and bassist Wesley Prince, but he was so successful as a singer that he went on to make many recordings as a vocalist.

Capitol, his record label, was quick to capitalize on Nat Cole's velvet tones. The hits came one after another: Straighten Up and Fly Right (1943) sold a million copies, and Nature Boy (1948) and Mona Lisa (1950) sold over three 3 million each. Some of his other (numerous) popular hits can be found on Side B.

Nat Cole's popular songs, however — some were so sentimental they were even slushy — should never conceal his talents as a pianist and musician, which he displayed with the best jazz orchestras around (Side A), his own trio (Side C) or in outings with Latin rhythms (Side D).

His fame earned him his own NBC television show in 1956, while Presidents Truman andKennedy would consult Nat on complex racial issues. He also appeared in some fifty films, and continued to record profusely (at least a hundred of his titles entered the sales charts). Nat "King" Cole deserved his title: not only did he sell over fifty million albums, but he also belongs to those artists who wrote jazz history.

Introducing Idle Minds Workshop / Melbourne based duo Hooves & JPS debuting on Plasma Audio. Staples of the Melbourne music scene, working together as the production outfit "Idle Minds Workshop". Dropping with a slung half time beat "Take Time" features dubbed out lyrics from Rider Shafique, alongside "Opportune" a driving dancefloor half time riddim. Original hand drawn calligraphy brushed by Akane Ito of QQQ Design brings essence into the package giving the feeling of beautifully crafted release, pressed on 10" Vinyl and digital/steaming available on 26th June.

Waxtime Boxset Series Ella Fitzgerald & Louis Armstrong - The Essential Albums ‘Ella & Louis’ and ‘Ella & Louis Again’ Louis Armstrong and Ella Fitzgerald were capable of producing magic that few jazz singers could match.

Their infrequent studio collaborations yielded true masterpieces. After cutting several sides backed by big bands for Decca in the late forties and early fifties, Ella and Louis were summoned by producer Norman Granz in 1956-57 to make three albums that would become legendary jazz classics. This 3-LP set compiles their two complete small group albums, Ella & Louis (Verve MGV4003) and the 2LP set Ella & Louis Again (Verve MGV4006-2).

Ella & Louis *****Down Beat “Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades.” (Nat Hentoff) Voted number 636 in Colin Larkin’s All Time Top 1000 Albums

Ella & Louis Again (2lp Set) ***** Down Beat “This set is more relaxed and more successful than their previous cooperative venture. It can hardly fail to break sales records for them both.” (Leonard Feather)

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, ‘Liquid Portraits’. Born and bred in Florence, Cristiano
Crisci’s musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring
both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a
collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi
G’Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a
string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with
energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the
likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with
whom Crisci has been working with ever since, including his first and second albums ‘Tayi Bebba’ and ‘A Thousand Skies’. Returning
to Black Acre, Clap! Clap!’s third album once again deploys his inimitable technique in fine style, however with new eyes as this new
project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some
breakthroughs: “In recent years I’ve spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and
set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I’ve
never heard before from my speakers. This had a huge positive impact on my mixes and result on my music.” Entitled ‘Liquid Portraits’, the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met – from southern Italy to Hokkaido via the Kif Mountains of Morocco – as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album ‘Stranger To Stranger’ after Simon discovered ‘Tayi Bebba’ through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori (‘Southern Dub’), Belgian artist Martha Da’ro (‘Moving On’) and harpist Kety Fusco (‘Rising Fire’)

Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

Across two 12" slabs come long buried vignettes, motorik experiments and sketches from deep within the SVN archives. A continuation from his previous EP of the same name (c. 2017), this latest collection's smoked-out ambience, skeletal stuttering rhythmic workouts and smudged stoned melodies are some of the myriad parts that make up this most mysterious 'Mechine'.

Recorded at the now infamous Neues Deutschland Studio in Berlin, this collection of tracks continues the unique sonic explorations that SVN is known for and has deftly showcased through various respected electronic outlets including Apollo, Acido, Sex Tags Mania and more. An essential collection of DIY and contemporary German electronics.

Seven years after its inception, Eaux is proud to announce the first solo release by an artist other than Rrose. As a member of the Sandwell District collective, David Sumner aka Function was instrumental incultivating the Rrose project. After releasing the first three EPs and album by Rrose between 2012 and 2013, Sandwell District terminated their mission abruptly, prompting Rrose to start a new label (Eaux) for solo projects andcollaborations. This EP brings history full circle.



Following closely on the heels of Function's mammoth 3LP/17 track album "Existenz" for Tresor Records, this EP takes similar themes as a departure point, but moves into more mysterious, yet also heavily dancefloor-focused terrain. "Binaural" encapsulates the timeless essence of the Function sound with menacing bleeps, cavernous stabs, and a sense that it could go on forever without losing its grip on the listener. "Desire and Memory" is a broken beat track drenched in modulated drones that feels like an infinite spiral, moving simultaneously forward and backward in time. Function's early Sandwell District records defined the "hypnotic" techno sound that has influenced countless artists (including Rrose), and this release plants those roots in new, fertile ground.



Recorded at Inanimate Objects, Berlin

Mixed by Tobias Freund at Non-Standard Studios

Mastered by Beau at Ten Eight Seven

For their sophomore album, Chemical Reaction, Galaxians have stripped back the music and pumped up the vocals. Emma Mason's unstoppable voice elevates the group to a fully-formed musical act. This new LP is all about her voice.

Mason's powerhouse vocal on the West End Records-inspired Chemical Reaction beckons you onto the dancefloor. Jed Skinner's bright and breezy synth melodies allow the song to really breathe, whilst Sam Bell's front-and-centre conga groove (straight out of Double Exposure's My Love Is Free) and Matt Woodward's intricate rolls ramp up the track's energy and momentum. The shorter Mama Ghetto Vogue Edit is brought to life by Darren Pritchard, vogue dancer and mother of Manchester's House of Ghetto, who meets a neon wonderland in the electrifying video.

Elsewhere on the album, Heartbreaker champions female empowerment and personal freedom over a pounding boogie groove. It's a tight arrangement which drops into a delay-drenched Levanesque drum break before crescendoing back into a final chorus via one of Skinner's trademark JX-3P synth solos.

On the proto-house funk of Fight For Love, where Emma flexes her vocal chords to jaw-dropping effect, a failing relationship is thrust into the spotlight over a punchy Linn Drum groove. On the silky shuffle of after-hours jam Work It Out, which brings to mind the classic Sly & Robbie Compass Point productions, Emma croons about a lover, her voice cast in a softer, more subdued glow. Heat of the City sizzles with the essence of an urban summer, and is peppered with heart-stopping hand claps.

Third single Horizon sees the band in more reflective low-key mode, and could be their minor hit of the summer. There's some neat drum programming here, intertwined with Woodward's intricate fills and hi-hat playing.

On Not The Money, Mason's vocal shifts to a lower register in the mid-section, bringing to mind Grace Jones at her most commanding.

All in all it's a life-affirming experience, one born out of a sense of community and collaboration. Seven years on from their early explorations Chemical Reaction sees Galaxians retain sight of the principles that make their output, and dance music as a whole, so vital - commonality of experience, singular moments shared by a crowd, and rhythm as the best medicine.

NYC's legendary West End record label has contributed a fair few classics to the disco cannon and continues to influence dance music today with it's forward looking releases. 'When you touch me' is no exception, recorded and released in the golden year of 1979 and featuring the breathy, sensual vocals of a young Tanaa Gardner who had previously worked as a backing vocalist for numerous other projects until the label released her (other) stone cold solo classic 'Work that body' the same year on 12".
Both cuts featured on her self titled debut LP and boasted the combined production and studio talents of Kenton Nix, Bob Blank and of course - Larry Levan. Now, that's a serious line-up to have behind the boards (& in the clubs!) and of course 'When you touch me' was a classic with it's slow, elongated intro that calls to mind a sleazier version of Donna Summer's 'Love hangover' before launching into a full-on disco assault that you won't forget in a hurry! Yes, the record surprises you, Tanaa leads us into a false sense of a 'slow jam' and then - Boom - We're off!
Backed with the incredible instrumental version the 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

* A welcome repress of an essential dub set from Centry, originally appearing on the Conscious Sounds label in 1993.
* Featuring 10 varied-in-style rootical dubs from Centry consisting of Nigel Lake, Chris Petter and Dougie Wardrop, with the set mixed by the latter.
* Features some blazing horns and vocal snippets (from Danny Red, King General & Barry Issac) dubbed and phased to the max.
* Limited to 500 copies only.

Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work.

Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.

Ghent's Steiger are a piano trio, but not in the classical sense. With their versatile style, influenced by different musical genres such as jazz, rock, pop, classical and electronic music, they try to find a balance between composition and improvisation through the use of experimentation and electronics.

Considered pioneers of the Belgian jazz crossover scene, Steiger have been active for 6 years and have recently found themselves performing at major jazz venues in Flanders, picking up numerous accolades along the way.

The trio's highly anticipated sophomore album 'Give Space', released 14th September on Sdban Ultra, was recorded at 7 different locations, with the music composed to fit and fight these locations within a dialogue of acoustics, atmospheres and appetition. Field recordings, reverbs, ambient sounds, all collected within the search for the unpredictable, were given space within this dialogue as the essential part of the encounter. As a result, the locations emerge somewhat as a fourth member of the trio. The music - sometimes fixed, sometimes completely free - takes on an ever-changing journey into their multi-faceted world.

Creole Soul!" Two words are enough for David Walters to qualify his music. The exclamation point to support radicalism and faith in its purpose.
A lapidary definition behind the doors of which hides the maze of a culture that crosses the oceans, connects continents and islands by an invisible but powerful thread. A deeply ingrained bond that allows Africa, America, Europe, and the Caribbean to converse with each other with a language as universal as music, dance, carnivals, or ceremonies.

Spread on the globe; the different creole cultures find a point of convergence where they are all represented: New York.
In this city, where motivated by his friend photographer JR, he once gave a concert in the street, David Walters decided to set the scene for his new album.

After five years of traveling the world, meeting musicians for the TV show “The New Explorers” (Canal +), it is around this hyperactive city that he chose to shine his Créole Sun. To imbue his music with the state of mind and aesthetics that reigned in the 70s and 80s.
While in 2018, he soloes produced Nola Is Calling (an album recorded in New Orleans with the Creole community of Black Indians, selected by Gilles Peterson in the best of 2019 on BBC 6). That’s with the essential contribution of the musical mastermind Bruno “Patchworks” Hovart (Mr. President, Voilààà Sound System, Da Break ...) that David produced Soleil Kreyol.

More than a musical partner, Patchworks turned out to be the sound engineer David was looking for. The second part of an ideal pair, the one with whom, set on the same frequencies, he wrote, composed, recorded, played all the instruments. Thought all the arrangements, tweaked the details as carried by a continuous breath. Or rather a light. The “Soleil Kréyol” (Creole Sun).

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

The Bees are a textbook case of the chew and spit cycle that was the late 80’s South African music industry. Although their unknown story is likely unique, it is just as likely that it is no different to that of many other young artists who dreamed of getting their music heard at the time.

By 1988, the independent record label was no longer as uncommon as it had been at the beginning of the decade. As the 80s went on, more seasoned A&R reps and Producers that had gained experience and connections from their work under major labels would be trying to cash in on a market they helped create. Without the need of big rooms or expensive recording equipment, the digital advancements allowed many Producers to open or work in smaller studios and promote unknown artists under their own imprints. They would then have their catalogs marketed and distributed by the same major labels they had been working for just years prior. This would open up the possibility of a new era of stars as potential talent no longer had to be pitched to major labels in hopes of them taking a chance on a new signee over their already established artists. With the market growing and a struggle to keep up with the demand for new sounds this agreement would allow the major labels to put new emerging artists or groups on their catalog with little investment and high reward if it happened to be a hit.

ON Records was just one of the independent players at the time. Ronnie Robot had just signed the unlikely trio The Bees in hopes of adding a hit group to his label roster that consisted of solo acts. Despite the debut’s fresh house inspired sound, it failed to catch on was outsold by the bubblegum disco the label was known for. Over the years unsold back stock and promos would build up with the distributor. Luckily this allowed sealed copies from the label’s catalog to survive into the 90s when the distributor’s stock was unloaded and picked up by legendary Johannesburg jazz shop Kohinoor. Here sealed copies of the Bees first attempt sat under appreciated for over 20 years before becoming a hot title after they started circulating online and became club staples. This is how the first album of an unknown group with no success was able to become a collectors item and earn a reissue over 25 years later.

With their first record behind them The Bees were ready move forward and get back into the studio. A suggestion from producers had the trio change camps and go work with the newly formed Creative Sound Recordings, the label that promised “Music for the Future” and ended up being an essential studio in the early years of Kwaito. They would work with producer Chris Ghelakis and guitarist George Vardas, while a young Marvin Moses sat behind the desk. Musically the sophomore album was as good as a follow up as you could get. Building on the first album, Mashonisa delivers catchy melodies backed by heavy drum programming that would score points with any Pantsula. The Black Box inspired “ Never Give Up” was one of two tracks chosen to be pressed as the promo for the album, hoping to trick listeners with their catchy version of the hit( A year later the label would release their first volume of Black Box covers sang by neo soul diva BB, it would be a great seller). The label printed up an unknown amount of these in a last attempt to push the release in Shabeens and on Radio. The cheaper route of flooding the market with promo copies would only pay off 25 years later when unplayed copies started being rediscovered and had survived the years in a quantity that original run of the full album could not. Once again it was clear that with no mainstream appeal, the quality of the music on its own was not enough to garner any success at the time. The album flopped worse than their first and failed to make it past it’s initial run, making it one of the harder titles to get from the CSR catalog.

Mashonisa would be the last attempt from the Bees. They would disappear from the scene as quickly as they appeared. Of the three members it is only known that lead Singer Solomon Phiri continued in music fronting a wave dance group before he mysteriously vanished in 1993, never to be heard from again. Through a combination of luck and circumstance the group, which is unknown in South Africa to even the most plugged in musicians, producers and radio hosts of the time, managed to finally get some of the recognition they deserved 30 years later. Unfortunately this small blip of fame would happen with none of the band members present to give their side of the story, or even aware of how their two albums became popular enough to be printed on different continents in a new millennia. The Bees suffered the same fate as countless other artists of the time, who thanks to emerging independent labels and willing producers were given an opportunity to have a short career, only to be replaced by the meat grinder of the music industry when they failed to produce a hit.

Fifth studio album featuring Malcolm Catto, D'Alma, Idd Aziz and Modou Touré. Includes the singles Sua Alma, In The End and Afande. His most accomplished album to date Will Dorey aka Skinshape moved out of his comfort zone to create a new sound while retaining his trademark feel. While Skinshape has often been influenced by African music ‘Umoja’ directly incorporates styles and rhythms from the continent. Drawing on London’s vast talent pool from across the globe collaborators bring the essence of Senegal, Portugal, Ghana and Kenya via Norway no name but a few. The initial plan was to travel to various African nations to record ‘Umoja’. This proved to be an unnecessary step because Skinshape's hometown of London ended up bearing many fruits. It was a challenging project for Dorey taking a year and a half of dedicated work to complete with many ideas left unfinished along the way. The album has a very global feel which was enhanced at the end of the process by a collaboration with Japanese painter Ken-ichi Omura. Fans of Skinshape’s distinctive voice will not be disappointed as he features on ‘In The End’ and ‘Sun’. Long-time friend and collaborator Jon Moody (from the band Franc Moody) wrote the album’s horn parts.

Another West-End sure-shot! This sublime piece of early electronic Boogie has always worn it's "classic" badge with a relaxed sense of pride since it's release in 1982, perhaps it's the languid synthed out groove supplied by studio maestros Nick martinelli & David Todd or Brenda Taylor's sublime vocals reminding us all that the game of love is always a 2 way street that are to blame

Whatever it is, this is a solid, classic slice of Disco gold, more on the down to mid-tempo tip but still big enough to keep the dance-floors packed from the Garage to the Loft & beyond with ease! The production simply sounds years ahead of it's time (still does!) & it has the FUNK in bucket-loads, this is as essential as it gets, the real deal. Featured here are all the original mixes that were on the 1982 pressing (Yes! There's a dub mix!).

Re-mastered, re-pressed & re-released for 2015 with all original West End Records label artwork intact. Done in conjunction & with the permission of all right holders.

Ella is the most celebrated of divas, and she dominated the jazz scene for over fifty years, from her first hit A-Tisket, A-Tasket in 1938 to her gradual retirement from the stage in 1989 due to illness. She left her signature on every jazz universe to which she contributed.

The Essential Works 1956-1959 throw light on her talents as a performer of the greatest standards, with songs written by Cole Porter, Irving Berlin, George Gershwin and Rodgers & Hart. Ella succeeded in making popular melodies her own, most often songs taken from musicals that she transformed into as many pearls of vocal jazz.

The four sides of this album bring together the indispensable inner soul of Ella Fitzgerald's recorded work.

Louis Armstrong is one of the most important jazz musicians. He belongs to those who transformed the local music scene born in the Southern States of the United States - around New Orleans - into an international language.

It was in the 1920's, in Chicago, that he recorded his first records with His Hot Five and His Hot Seven. His personality and his natural enthusiasm, combined with his talent as a trumpet player and singer, helped him pave his way to success.

He traveled the United States with his orchestra throughout the 1930's and the 1940's, and appeared on television sets from all around the world throughout the 1950's and the 1960's. In five decades, Armstrong's music had evolved into jazz music, then known as a familiar universal language, popular on five continents.

The four sides of this double album revive the history of jazz, from "Muskrat Ramble" to "Hello Dolly".

For the third time, we smash the history books with remasters of some absolute classic Sublove tracks. Some of the best in his catalogue, but thats no surprise, Sublove is an artist with no duds. Limited double vinyl as always, bound to sell out as always...This EP comes with 6 much sought after classic tunes, with the added bonus of a recently discovered version of the huge underground anthem..er…”Underground” as well as a brand new remix of 140 by Luna-C & Lowercase. All In all, an essential double pack for any true old skool lovers.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

Essential comp of rare funk 45’s from the 70’s – original 1994 LP’s in pic sleeve

"WOLF Music" offer up something a little different to their usual tip, enlisting the warm dusty reverberations of four-piece, jazz-not-jazz collective Velour for a 7" of hazy, genre traversing rhythms. Alongside being producer for the Velour project, long-standing member of the WOLF pack Mr. Fries gives his own distinctive house touch to the flip side remix.

Perfectly capturing the new school of jazz, Essen-based Velour crisscross genres drawing on elements from each yet anchoring their roots in the richness of jazz’s deft melodies and percussive touches. Head-nodding down the open road, ‘Pose’ is that undeniably soulful, first swig of summer many tracks strive to be. Morphing into a woozy affair as the sun sets midway through, Velour’s songwriting talent well outstrips their years. Throw WOLF pack member Mr. Fries into the mix, kneading in his signature production style and the freshly baked result straddles the intersection between jazz, broken beat, house and soul.

Fries then takes on remix duties for the flip, maintaining that dusty demeanour yet going for a full frontal Moodymann-esque house interpretation. The smokey jazz bar sax, background hustle and weighty beat make for a summertime heater served straight from
the grill, garnished just right with Mr. Fries own vocals over the top.

Fantastic first album of Tunisian producer Azu Tiwaline, melting psychedelic dub, industrial and hypnotic techno deeply rooted in her berber culture, supported by Lena Willikens, Nicola Cruz, Toma Kami and Violet, to name a few!

Azu Tiwaline is a new name for a new spirit: one of a producer inspired by the need to explore her origins, rooted in the Tunisian Sahara. The Call to a different sound, organic and raw, vibrating in the great spaces of the African desert where trance music resonates... Ecstatic ritual.

Her first album, Draw Me A Silence, conceived as a diptych, reveals the multiple facets of her identity. Uniting the bonds that connect Berber music, dub culture and techno hypnosis, Azu Tiwaline invites us to refocus on our senses and our Nature. She knows how to use contrasts between light and the invisible, exploring the complexity of our emotions and the mystery that emanates from them, in a polyrhythmic chiaroscuro that runs through each one of her tracks, and of which we discover, as we go along, all the outlines.

Draw Me A Silence Part. I (to be released in February 2020), delivers the most hypnotic variant of her music, centered on dark percussive rhythms and a skillful use of repetition; each of the 5 tracks ineluctably carrying the listener into a trance. Two major tunes particularly illustrate the artist's imagination: "Itrik" and "Berbeka", perfectly synthesizing the heritage of Berber trance music and her techniques derived from minimalist and repetitive electronic music.

The continuation, Draw Me A Silence Part. II (to be released in April 2020), gives prominence to a deep heritage drawn from the dub culture and its numerous bass music filiations. This second part thus gives a new breath in the use of sound space, exploited in a much broader way, leaving all their space to complex syncopated percussive lines, supported by massive basslines dedicated to the best sound-systems. Omok, the first of the five tracks of this Part II is the perfect demonstration of this, playing here the essential role of a bridge to the darker waters of this album's end.

Each of these two parts exist as an Entity, and it is only when they are united that they will reveal their full meaning. Thus, in May, Draw Me A Silence will find its final form in a double-vinyl unifying them. Listening to this album in its entirety offers us a wide panorama of the sound landscapes visited by Azu Tiwaline, who seems to breathe primitive sounds of a faraway desert into a music with modern tones - and vice versa. A resolutely hybrid sound and a singular experience, playing with contrasts and nuances to catch the listener in vast and so far unexplored territories.