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EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.

But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!

Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.

Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.

Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.

These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.

The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.

Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

Big Love guru Seamus Haji commits four of the label’s freshest funk, disco and groove-laden releases to wax for the fifth edition of ‘A Touch Of Love’. Who else to open up the compilation but the label boss himself with ‘Dance With Me’, his funky, feel-good collaboration with prolific dance vocalist and friend Kathy Brown.

Glaswegian production duo Illyus & Barrientos bring their genre-crossing disco and house vibes with ‘Wait’, featuring soulful Big Love returnee Phebe Edwards. Up next, a collaboration between two house masters, the multi-faceted Richard Earnshaw and Sole Channel founder Mr. V unite for funky release ‘This House Is Yours’. Closing out this tight and groovy vinyl collection is Rio De Janeiro’s premiere producer DJ Meme with ‘Century’, utilising a classical piece of music from Strauss synonymous with the sound of the future.

A Jazz Dance Favourite that Jazz Room Records Head Honcho Paul Murphy was hepped to by Brownswood and 6Music Jazz Supremo Gilles Peterson at the 20th Birthday Bash of London's most Underground of Clubs: Shiftless Shuffle.

Murphy: "I'd quite forgotten all about it, but when I saw the reaction on the dancefloor it was "Mental Note Time, get on the case for a full investigation and let's see some Vinyl re-issue action!"

The head of the original Danish Label, Pick Up Records, later reminded Paul that he was selling the originals in his original Jazz Record Shop "Fusion Records" when the original was released and that he, Peter Littauer, had actually delivered them personally on a trip to London. Synergy in action!

The music is a mixture of 100mph Latin Jazz (Girl With Three Faces/747 To Rio/From Dusk Towards Dawn) and Funky Rhodes driven workouts (Travelling/Circles In The Air), plus the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe who guested on two of the tracks.

Further is the brand new label from DJ Bone, who has started it in place of Subject Detroit which after 25 years he recently decided to put to sleep. This second EP lands on the same day as the first but is a new four-track solo outing from the now Amsterdam-based techno innovator himself. 'My Replicant Self' has synths slashing across the face of a sleek techno rhythm with sombre chords draped over the top. 'The Divine Call' ups the ante with spoken word menace and 'My Tribe' then layers up percussion and surging synth warmth. 'Remembering The Future' is a brilliantly quick and urgent track with slapping hits and bouncing drum funk.

Repress!

Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!

The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.

'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!

TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to Manchester, London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in......

MC065 presents a highly anticipated reissue of Kilowatt's 'The Last EP' – a coveted 4-track compilation featuring a blend of technoid electro-funk and Detroit-inspired house grooves. Originally unleashed on Rob Gretton's legendary Manchester label 'Rob's Records', this EP seamlessly meshes with contemporary sounds and promises an immersive experience on a powerful sound system. Catering to aficionados of the more intricate and funk-infused facets of electronic music, Kilowatt unleashed this underground gem in 1995, earning it a well-deserved cult status among dedicated music explorers and DJs alike. Secure your copy of this exceptionally rare piece of UK musical brilliance now, courtesy of your friends at MC.

All tracks have been lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition.

Following a first iteration which set the tone for our newly-minted Heimat series in explosive fashion, here comes the much anticipated second batch of our zeitgeistian take on today's scene's, its current potential and destination. Showcasing productions from artists keen to roll up their sleeves and sail into the impassible status quo, this new number packs the kind of red-hot hammering and cutting-edge punch we've been so adamant to push and defend over the past decade. Berlin-based French producer Arkan steps in first with a proper magnetic depth charge. Dwelling the darker layers of our ocean floor as its name suggests, 'Submarine' is pure hypnotic material geared up for heavy-duty boogie in the warehouse. Filling its ballast tanks with a hefty deluge of muscular bass onslaughts, sonar-like bleeps and untamed cascades of loopy arps, this one rolls and pitches like a haunted ship on predator mode. Adding his dynamic pulse and mind-bending spin to the A-side, Frameworks & Untertwegs bossman Decka cuts a path of straight mental obliteration as he smashes the doors of the club wide open and parades all guns blazing with the unapologetic crusher that is 'Circumvent'. A no-holds-barred workout for the strong stomachs, churning out fiery bars of kick-drum/squelchy bass contrast with in-your-face swagger. Switching on to the flip side, there's Manchester's Yant cruising with the ebulliently dynamic (no shit, Sherlock) tune, 'Moving'. A multidirectional concerto of pong-like modularity and racing synth arpeggios flying off like coloured bricks in a Tetris game gone absolute batshit. The kind of hi-intensity burner that'll awaken any lukewarm mid-set flow with its bouncy unpredictability and ruthless forward-pushing thrust. Rounding it off on a further minimal note, Amsterdam up-and-comer Hitam treats us to an inch-perfectly engineered finale with a stripped-back - yet, absolutely not hollow - bomb, 'Venusian Winds'. Gutsy that one sure is, with its metronomic step ticking at near-cyclonic speed and cleverly arranged, subtly FX-coated funk keeping things both suspenseful and focussed thru and thru. A sleek combo of pared-down brutalism and masterly executed analogue tailoring altogether. All dressed in clear purple marbled wax for the occasion, "Heimat II" shall please both the techno purist and visual aesthete in you with its velvet touch and effortless chic.

Warehouse find!

Three major players from the now multi-generational broken beat scene: Henry Wu, Dego (2000black) and IG Culture have assembled for an irresistible late summer bruk-samba trip.Brazilian rhythms have always been foundational influences on the broken-beat and future jazz movements, and this EP continues to explore these connections, a running theme throughout Far Out's 23 year history with Seiji, Mark Pritchard, Afronaught, Domu, Da Lata and Jazzanova being just a few of the names to have contributed to this particular avenue of the label's pantheon of dance music.The joyful samba-soul in the title track of Sabrina Malheiros' latest album features the bass and keys of Brazilian Jazz-funk legends Azymuth, and is inspired by the quest for clarity in the face of difficult times, Clareia in Sabrina's own words means to clear, light, brighten or illuminate'. But this remix EP beautifully ruptures the 'clarity' in style, each crafting the breezy Brazilian beats into their own distinct brand of future-thinking club-funk... these beats were made to be broken!

Co-Accused Records kick off 2024 with some sonic grooves from French duo Human Rebellion. Their 'Kosmik Trip EP' has four spacey, electro cuts with wicked remixes from Sync 24 & Co-Accused.

Human Rebellion launch the EP with the title track 'Kosmik Trip' a mind-bending intergalactic destroyer. Sync 24s remix sees the trip take a dark turn with sinister vocals and hypnotic builds. Co-Accused take it into techno territory with a relentless, high energy take on the original. 'Censored Truth' opens the portal to the B side with free-radical synths intertwining with dark machine funk. The punchy drums in 'Hybridization' pull you towards a distress beacon, with face-hugging builds and chest bursting drops. Human Rebellion round off the release with the dystopian, driving sounds of 'Jupiterians'

Vinyl Only Release lim. to 500 copies worldwide!

There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.

repressed !

Say what you wanna say, but you have to give Strahil Velchev this: the man's a powerhouse. Recording and playing live under the KiNK alias, he went on to become one of finest purveyor's of funk in techno and house. What it is, by definition, ain't exactly clear. And that is the beauty of it.

KiNK's music is unifying in the best possible way. Channeling the spirit and feeling of a time where it didn't really matter who the faces behind the music were, KiNK plays with the elements of genres and sub-genres as if the future of it all is still wide-open. At the same time it could be accused of retro-fetishism, as much as the Pope himself is infallible.

The pure need to recreate moments, feelings and experience - rather than carbon copies of existing designs - was what started KiNK's production work. Hailing from Bulgaria, it was nearly impossible to get your hands on all the records and music that fed into a system of raves, clubs and record shops that seemed far away from Sofia, and financially it might as well have meant another galaxy. Wanting to DJ without having access to the tracks that spun the carousel meant that you had to create them yourselves. So, here we go with a private bootlegger gone public mastermind and one of the loudest voices in house, techno and beyond.

From KiNK's early productions with Neville Watson to his smash-hit for Ovum, a cerebral album for Macro, tons of remixes & tracks and his mind-bending live act, Playground seems to take all that into a blender. Simultaneously a sound-summary, the harvest of a field of ideas, and the exhibition of an artist in his prime, it also works as a sort of KiNK dictionary: avant-garde soundscapes stand next to boisterous bangers, classic club tracks and peak time emotions find their idiosyncratic and contemplative counterparts - all of it coming down like a torrent in a drought.

Opaque Yellow Vinyl
Orgone sind zurück in Kalifornien und kommen mit "Chimera", einem feuerspeienden Spektakel aus psychedelischem Afro-Soul, in Fahrt. Produziert von Sergio Rios (Neal Francis, Say She She), ist "Chimera" eine elektrisierende, traumähnliche Odyssee, die durch die nebligen Sümpfe von New Orleans führt und Texturen von betörendem Voodoo-Soul, dröhnendem Afro-Funk und steinhartem Psych-Rock verwebt. Auf "Chimera" verwandelt die Band aus Los Angeles harte, düstere und ansteckende Grooves in mitreißende Tanzrhythmen. "Chimera", benannt nach einem mythischen Tier mit dem Kopf eines Löwen, dem Körper einer Ziege und dem Schwanz einer Schlange, beschwört einen Zustand herauf, der gleichzeitig tranceartig und herzzerreißend aufregend ist. Das Album beginnt wie eine berauschende Rauchwolke im Gesicht mit "Hallowed Dreams" und zieht den Hörer in einen Zustand, in dem die Realität verschwimmt und die Musik die Kontrolle übernimmt. Der Fokus-Track "Zum Zum" ist ein mitreißender Afro-Funk-Tanzflächeneinheizer, der den Herzschlag mit der treibenden Perkussion synchronisiert, wobei sich der hypnotische Rhythmus zu einem rauschenden, psychedelischen Höhepunkt aufbaut. Auf dem rauen und mitreißenden "Tula Muisi (Dance Like Them)", einer Mischung aus Afrobeat und schwerem Psych-Rock, ruft der Sänger zu Einheit und Respekt auf, was übersetzt so viel heißt wie "Hört die Musik und tanzt wie sie". Die Band ist bekannt für ihre packenden Instrumentalstücke und ihre mitreißende Live-Show. Das verdiente Selbstvertrauen dieser bewährten und kultigen Band ist auf "Chimera" zu hören. Von Anfang an war Orgone eine Chimäre - eine facettenreiche Schöpfung und die physische Manifestation unmöglicher quixotischer Träume. Chimera wird Fans der frühen Orgone begeistern und gleichzeitig die mühelose und unendliche Fähigkeit der Band zeigen, ihre Form zu verändern. Es ist ein elektrisierendes, hypnotisierendes Album, das die Erwartungen übertrifft und den Hörer in Atem hält.

Orgone sind zurück in Kalifornien und kommen mit "Chimera", einem feuerspeienden Spektakel aus psychedelischem Afro-Soul, in Fahrt. Produziert von Sergio Rios (Neal Francis, Say She She), ist "Chimera" eine elektrisierende, traumähnliche Odyssee, die durch die nebligen Sümpfe von New Orleans führt und Texturen von betörendem Voodoo-Soul, dröhnendem Afro-Funk und steinhartem Psych-Rock verwebt. Auf "Chimera" verwandelt die Band aus Los Angeles harte, düstere und ansteckende Grooves in mitreißende Tanzrhythmen. "Chimera", benannt nach einem mythischen Tier mit dem Kopf eines Löwen, dem Körper einer Ziege und dem Schwanz einer Schlange, beschwört einen Zustand herauf, der gleichzeitig tranceartig und herzzerreißend aufregend ist. Das Album beginnt wie eine berauschende Rauchwolke im Gesicht mit "Hallowed Dreams" und zieht den Hörer in einen Zustand, in dem die Realität verschwimmt und die Musik die Kontrolle übernimmt. Der Fokus-Track "Zum Zum" ist ein mitreißender Afro-Funk-Tanzflächeneinheizer, der den Herzschlag mit der treibenden Perkussion synchronisiert, wobei sich der hypnotische Rhythmus zu einem rauschenden, psychedelischen Höhepunkt aufbaut. Auf dem rauen und mitreißenden "Tula Muisi (Dance Like Them)", einer Mischung aus Afrobeat und schwerem Psych-Rock, ruft der Sänger zu Einheit und Respekt auf, was übersetzt so viel heißt wie "Hört die Musik und tanzt wie sie". Die Band ist bekannt für ihre packenden Instrumentalstücke und ihre mitreißende Live-Show. Das verdiente Selbstvertrauen dieser bewährten und kultigen Band ist auf "Chimera" zu hören. Von Anfang an war Orgone eine Chimäre - eine facettenreiche Schöpfung und die physische Manifestation unmöglicher quixotischer Träume. Chimera wird Fans der frühen Orgone begeistern und gleichzeitig die mühelose und unendliche Fähigkeit der Band zeigen, ihre Form zu verändern. Es ist ein elektrisierendes, hypnotisierendes Album, das die Erwartungen übertrifft und den Hörer in Atem hält.

The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighbourhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. "Power-Fuerza" is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the

raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers’ “Power-Fuerza”, one of the best Latin funk albums ever recorded…

"Cross My Heart" is a tribute to the harmonica player and singer James Cotton, one of Boney Fields" heroes and companions on the road, is certainly the most representative track of this thrilling groove mood that authentic blues musicians know how to infuse. Boney Fields possesses that almost funk tone matured enough to tickle our ears and make us tap our feet. By revitalizing, for example, "The Thrill Is Gone" in the spirit of its original author (Roy Hawkins), Boney Fields perpetuates the tradition of spirited orchestras of yesteryears without compromising the modernity of its irresistible tempo. Much more personal than all his previous albums, "Just Give Me Some Mo" is also the expression of introspection, that of a man who remembers without drowning in dark nostalgia. He thinks of the courage of his mother bravely facing obstacles in an unequal America. "Back in the Day" is not a sad song. It makes one stronger and nurtures faith in the future. This melody is certainly the most touching of the six compositions written by Boney Fields. From "Control of you" to "Something" holding me" or "I know yes I Know" he invites us into his intimate biography, the story of a large family shaken by inevitable upheavals that must be faced, the destiny of a combative musician who resists adversity. Boney Fields chose to let his soul speak. This effort of truth had to be supported by the artistic direction of a master. By enlisting Sebastian Danchin for the production of this album, Boney Fields turns to a historian of African-American culture whose keen ear has already won over Little Milton, Mighty Mo Rodgers, Toni Green, and Jean-Jacques Milteau, among others... Their exchanges uncovered a perfect understanding of "Chicago Blues" the brassy vigor of which they experienced firsthand 40 years ago. Surrounding oneself with the right people is quite a challenge. Fortunately, Boney Fields knows how to spot true talents. He was convinced that the Senegalese guitarist Hervé Samb would also be a good musical director. Hadn"t he been the first to highlight the expressive power of this luminous composer and arranger? The enduring vitality of the blues, when narrated with precision and insight, always manages to find its legitimacy. The months of reflection, of questioning, will not have been in vain. They have given substance and depth to this thrilling record which, we wager, will be a milestone. Boney Fields has waited long enough. Does he want more? We will give him more! "Just Give Me Some Mo" will now be a shared leitmotif, that of an insatiable conductor and that of enlightened admirers.

This is a welcome return to the label for Amazingblaze who released his Can't Stop EP in January this year and his Venture EP in 2022. Since then he has continued to innovate with his heavy-hitting trance, techno and hardstyle influenced sounds. His ever evolving studio skills see him mix up old school influences with new school sound design that is perfect for engaging dance floors. His signature imprint is all over these four new cuts with their mix of big synths, bigger drums and all consuming grooves.

“Believe EP says it itself. All I wanted to say is that you have to believe in yourself”, Amazingblaze says. “This brand new EP contains 4 full-power tracks that definitely goes through your heart. Massive trance synths combined with vocals make it sound really mysterious and groovy. Hope you enjoy it, and believe in yourself.”

Charlotte de Witte adds: “It’s no secret that to me, Amazingblaze is one of the purest talents out there. This guy really understands what music is about and manages to create dancefloor bombs time after time. I’m super proud to have him on board for another EP on KNTXT and to watch him grow and become one of the top level artists out there.”

'Believe' kicks off with intense drum patterns and smart vocal samples that are lit up with bright and electric synths full of euphoric energy. 'Strange Candy' is a bulky and physical mix of clipped techno funk and throwback rave sounds with strobe-like lasers shooting across the face of the track. There is more peak time brilliance in the hard drums and hands-in-the air synth magic of 'It Happened Again' while 'Boyz Makin Noiz' shuts down with twitchy stabs and twisted acid lines and dark vocals appear from the shadows.

Amazingblaze delivers yet another exceptional EP, seamlessly blending forward-thinking techno and trance elements.

Repress! Soul, funk and rock recorded by US Army Servicemen during the height of the Vietnam War and released as a recruitment tool by the US Army as a recruitment tool. United States Army soldiers made the music contained on this album during the politically turbulent early 70s, towards the end of the Vietnam War. East of Underground was comprised of soldiers stationed in bases across Western Germany. While little is known about the band, the players, and the milieu they came from - other than what can be pieced together from a handful of photos and documents found in a box in the New York Public Library, and the vague recollections of some of those involved – we at Now-Again Records have worked diligently with the United States Army and researchers the country over to present this important document – and some damn good soul and funk music.

After a short break Samosa Records explodes back on the scene with ‘Earth Wind & Funk’, a deadly four-tracker EP that is sure to get the juices flowing and body moving.

A1 sees New Zealander producer ‘Strange’ make a most welcome return, spinning the funk loom with the ‘Hard Working’ (De Gama Re-Drums). A truly addictive and distinctive bassline sets the pace, tone and feel for this gorgeously constructed track. It has it all; sumptuous vocal, high-end brass and an acid squelch to die for. Dig it, you will.

A2 lands with Frank Virgilio’s ‘Love Is Positivity’ – a melting pot of twisted disco, feel-good scatty rhythm and lifting vocals. The melody is literally dripping with positivity, but also has an almost transcendental vibe secretly going on. The last drops of summer are right here. Enjoy them.

On the B-side, Mosaik Kollektive raise the temperature with the De Gama Re-Drums applied ‘Keep’. A tough, perfectly cooked groove that gets right in your face and makes no apologies for screaming at you. The bass on this unstoppable monster is all-consuming. Rhythm guitar licks blend with soaring strings and that’s the full basket. Sublime meaty goodness.

Closing matters for this incredible EP at B2 is the effervescent Monsieur Van Pratt and Funk De Ibiza. MVP stretches his funky legs to the full here, laying down a solid beat, arpeggio and a bass so tough you could train it to box. Expertly blended with J-pop-esque vocal and shrill church organ. Drop this at midnight and watch the carnage unfold and hands in the air.

Earth, Wind and Funk is the exposure to the elements you absolutely want. A more perfect slice of wax you couldn’t find and one that’s sure to find its way into the record boxes of those who know.

FAT JON returns with the 2nd installation of "tephlon Funk". This 12 track LP serves as a soundtrack to the eponymous manga published by Dark Horse Comics and comes with a 12"x12" manga poster, with a full print jacket. A must have for fans of FAT JON's work as Five Deez and on the Samurai Champloo soundtrack.

Straight outta Williamsburg, Sababa Sounds come correct with their first ever vinyl release. Seven inches of face slappin' Hebrew funk.

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.

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.

Repress

repress of this mega techno classic !!!

New one-off press limited edition silver coloured double vinyl edition of Soul Jazz Records long unavailable 'Jamaica Soul Shake' collection of tracks from The Sound Dimension, probably the funkiest reggae groups to ever to exist on the planet! Features classic tracks recorded at Studio One.

This is the first ever collection of the music of The Sound Dimension - a mixture of classic tracks alongside super-rare singles only ever released in Jamaica. Alongside The Skatalites, The Sound Dimension were perhaps the most important group in the history of reggae music. That they remain relatively unknown is explained by the fact that they mostly functioned as the in-house studio group at Studio One Records performing anonymously behind the stars of the day - the reggae equivalent of Motown’s Funk Brothers.

Broc Recordz is proud to announce the album "Puzzled" by the legendary JJ Whitefield, you'll immerse yourself in the enigmatic universe of this master of funk and psychedelism.

Across 13 tracks, you will discover all facets of this musician hailing from Munich, ranging from raw funk to krautrock. JJ Whitefield is an iconic figure in the music scene, having played an essential role in diverse projects such as the mastermind behind Poets Of Rhythm, Karl Hector, The Whitefield Brothers and his essential role in the recent careers of Ebo Taylor, embryo and witch“. "Puzzled" is the perfect opportunity to delve into his unique musical world.

A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!



Antes de presentarte esta novedad, hay que entender que en la segunda mitad de los años setenta, algo estaba cambiando en la escena musical. Los grupos musicales estaban en su auge hasta que llegó la llamada al servicio militar obligatorio. Entonces, todo el mundo volvía de él sin sus largas melenas y sin dinero. Los baladistas sin personalidad tomaban el control de la música, según lo dictado por las discográficas. Es entonces cuando las copleras, cantaoras y rumberas se convierten en la respuesta necesaria para combatir la insípida melosidad. A pesar de un contexto sociocultural desfavorable, arreglistas y productores invertían horas de sueño para revivir un sonido que estaba al borde de la extinción. A pesar de los cambios que haya podido haber desde entonces, el más significativo es que ahora la inmediatez digital dicta el rumbo.



Es por toda esta importancia que finalmente ha llegado un álbum que reúne a un elenco de folclóricas en una combinación única, fusionando el concepto del groovy funk; con canciones que abarcan todo el espectro afroamericano de la música de baile de los setenta, con toques de gritos y susurros aflamencados que le dan un giro impresionante. Podríamos considerarlo el álbum destacado de las Rosalias del siglo XX, una especie de viaje lisérgico en blanco y negro a la España de la posfranquista. Con su hiperrealismo revolucionario, este disco nos ofrece a una una estirpe de artistas sin igual.

En este encontrarás las joyas ocultas de artistas como Flores, Pantoja, Jurado, Polaca, entre otras. Aunque se mantuvieron fieles a sus estilos, todas ellas fueron famosas por otras facetas de sus extensas discografías, y muchas incluso aparecieron en la portada de Interviú en más del cincuenta por ciento de los casos, como las feministas de los años setenta según Francisco Umbral.

Toupaz is a new name on our radar but he'll stay firmly on it after this release on forward-thinking London label, Well Street. The EP kick-starts with a fusion of techno, bass and club rhythms spliced with brilliantly bubbly toms & synths that fall down the face of broken beats. The flip side explores a new take on UK funky with whirring machines and fractured vocals, whilst the closer 'Maudlin Lakitu' features the most experimental and skeletal rhythms of the project.

Toronto Vs Boston: Lace up those skates, The PATCHOULI BROTHERS face off against GMGN on the hockey rink of destiny, who's edit will burn hotter and melt the ice, transforming this frozen dance floor into a disco roller rink for the ages? The disco brothers from Canada kick things off with "BURNIN'", dark and sexy, with textural percussion, sultry vocals, and a straight ahead piano focused groove. After a short flight to Boston, GMGN comes in on the B-side with the instant classic "A LITTLE BIT". Cutting up 70s funk over a solid disco base and diva vocals that will have you proclaiming "All you need is a little bit of Soul!"

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.

The album was first available as a (sold out) ltd.edn. coloured vinyl for RSD23 and is now available as a black double vinyl + download edition and also for the first time on CD.

Many of the most successful soul artists - from Aretha Franklin to Al Green, The Staple Singers to Sam Cooke - all drew upon their upbringing in the church for their musical inspiration. This album discusses how important the links between the black church and soul music were in creating soul music and spotlights some of the many important (and also little-known) gospel artists who walked this line between sacred music and soul, funk and disco in the 1970s and early 1980s.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Bilge.

French Psych-JAZZ-Soul-FUNK original soundtrack for initial soft erotic drama from 1973, later re-edited into "Sex Revolution" hardcore! "Jeu de Dames, la libération des femmes" (1973), a film by director Christian Lara, is a vaguely subversive charm flick that won't be remembered for a long time. An amusing detail, however, is that Georges de Caunes, father of Antoine de Caunes, the famous French TV personality, plays the lead role alongside Danielle Palmero. It's just one of a number of naïve films that, without being erotic, is sufficiently olé-olé that it failed to find a place in theaters on the traditional circuit. Faced with this commercial failure, the unscrupulous producer at the time, anxious to save his investments, decided to re-edit the film so that it could be screened in the X-rated circuit. He rechristened the film "Sex Revolution" in a more racy style, inserting more hardcore scenes to appeal to fans of the genre. Although Georges de Caunes is no longer credited on the poster or in the credits of "Sex Revolution", he finds himself, in spite of himself, promoted to lead actor in a porn movie, much to the delight of his son Antoine de Caunes, who is still dreaming 50 years later of finally being able to watch this forgotten masterpiece of the 7th art. The film seems to be a dud (pn: the author haven't seen it), but as for the music, Jean Claudric is particularly inspired and offers us one of the best French jazz funk soundtracks, which would not blush at the comparison with the best of the genre, such as Michel Legrand's "Un homme est mort", or Jean-Pierre Mirouze's "Le mariage collectif", previously released by Born Bad. Four short tracks, one with pyschedelic touches, the secomd more funky, the third a bit soul-jazzy, the fourth a French typical melancholic-melodic one makes a hot 7"-EP.

Ein Jahr nach Veröffentlichung des letzten GOAT-Albums "Oh Death" kündigen die maskierten Schwed*innen nun den Nachfolger "Medicine" an, der am 13. Oktober auf Rocket Recordings erscheint. In der ersten Single "Unemployment Office" ergänzen sie ihren Psych-Rock um Elemente aus dem 70s-Progressive. Nicht nur die neue Single, sondern auch das gesamte Album hat eine durchgängig zurückhaltendere, warme Ausstrahlung, und die Band deutet an, dass das übergreifende Thema des Albums die Vergänglichkeit im Leben ist - in all seinen verschiedenen Facetten: "It's about the impermanence of life in different ways: sickness, relationships,love, death and how our time is finite." Es ist schwer zu sagen, wie oft die Mythologie und das Geheimnis von GOATs Hintergrundgeschichte neugeschrieben werden kann, aber das neue Album macht Schluss, nur in der Vergangenheit zu schwelgen, und präsentiert einem etwas sanfteren Psych-Folk-Sound, der immer noch Goat ist. Die einzelnen Identitäten, die an den drei Alben der Band beteiligt sind, bleiben geheimnisumwittert: GOAT-Sprecher behaupten, dass die Gruppe lediglich ein fortlaufendes Mehrgenerationen-Kollektiv von Musiker*innen aus dem isolierten schwedischen Ort Korpilombolo ist. Nördlich des Polarkreises gelegen, ist die Stadt ein Knotenpunkt zwischen samischen Ureinwohnern, skandinavischen Siedlern und dem seltenen Eindringen von Wanderern von außerhalb. Darüber hinaus geben GOAT nur sehr wenig preis. Die Geheimhaltung der einzelnen Mitglieder und der Mangel an Informationen über Korpilombolo tragen wenig dazu bei, die Behauptungen von GOAT zu untermauern oder zu widerlegen. So "unnahbar" auch ihre Gerschichte klingt, so mysterös beschreib die Band auch ihre Musik: "We often talk about how all music is world music and all other genres are old fashioned. All you can hear is the universal similarity between all music. The music from some old cult in northern Sweden can be the same as the music from wherever." Der Sound des neuen Albums ist die klangliche Manifestation aus nigerianischen Afrobeat, deutschen Krautrocks, Funk und düsteren, halluzinatorischen Rock. Passend zum Titel "Medicine" muss dieses Medikament also sehr stark sein. Unabhängig von Dosierung und Art der "Medicine" - es ist Zeit sie jetzt einzunehmen. Limitiertes Wavy Cap Colour Vinyl-LP (Purple-Clear Colour-In-Colour)

Flächendeckender Release der B4E LP des US-Produzenten Yung Bae von 2018, die bislang nur in Miniauflagen im Eigenvertrieb erschien. Yung Bae ist einer der prominentesten Vertreter des Vaporwave-Subgenres Future Funk, der Electro-Funk-Sounds mit japanischen 1980er City-Pop-Samples zu einem verspielten Disco-Pop kombiniert. Er spielte auf Coachella, arbeitete mit Method Man, Mike Posner und Jon Batiste zusammen und veröffentlichte bis dato acht Alben und unzählige EPs.

Plant43 wrote a trio of EPs over the winter season at the end of 2022 and the start of 23 and has been putting them out on his own Plant43 Recordings label.

This third part from the man born Emile Facey is another emotional rollercoaster that conveys the wintry scenes in which they were written while also taking you on to the more warm and optimistic light of spring.

Lithe electro rhythms and icy synths open up on 'Tidal Flexing' while 'Reflective Waves' gets a little darker and more intense. 'System's Edge' is a celestial cruise with quick, slick drums and masterful leads then 'Mind Drift' channels Drexcyian cyborg funk to close. The final part of the story comes on coloured vinyl but only in limited quantities.

Neil Gust und Elliott Smith kamen im Sommer 1991 gemeinsam nach Portland, OR, um mit dem Schlagzeuger/Produzenten Tony Lash eine neue Band zu gründen. Innerhalb eines Jahres, nachdem sie den Bassisten Brandt Peterson am Bass kennengelernt hatten, spielten sie an der gesamten Westküste und nahmen Dutzende von Songs für ihre erste LP auf. Sechs dieser Stücke wurden auf der Kassette "The Music of Heatmiser" veröffentlicht, die bei Konzerten und in örtlichen Plattenläden verkauft und an Plattenlabels verteilt wurde. Der Sound der Band hat sich im Laufe von 3 LPs stark verändert, aber das hier ist Heatmiser direkt "in your face".

Neu, energiegeladen, aufgeregt, sich schnell durch die Stile bewegend, total kaputt und auf jede erdenkliche Weise funktionierend.

Was auch immer möglich ist. Es ist Gitarrenrock, mit voller Wucht, durch 100 Watt Marshall-Halfstacks, als Grunge im pazifischen Nordwesten aufkam und die Szene in Portland explodierte.Schnell, tight, laut, lustig.