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Modernized disco boogie cover of Klique's 80s classic tune, with vocals by Boston's own Saucy Lady and UK's legendary talent Omar, all masterfully crafted by Yuki Kanesaka as the musical director and producer alongside Saucy Lady on the arrangement. The track not only features a full live brass section and strings with talents from Japan and Boston, it also features Curtis Williams of Kool & the Gang on alto, while David Frank of the mega duo The System on the Oberheim and Moog adding the authentic boogie spice.

Piano overdubs recorded by another production and engineering legend Carl Beatty known as the studio pioneer of all the major label R&B performers of the 70s, 80s, and 90s including Luther Vandross, Aretha, Melba Moore, Mass Production and more. All of which create the melange of groove that the funk universe desperately needs.

On the flip side, French Producer and DJ heavyweight Young Pulse brings a whole new take on the original mix with added vocal layers by Young Pulse himself he brings a more broken beat, house flavor to the classic tune which will undeniably electrify the dance floors.

Taking inspiration from late 70’s / early 80’s French library music and electronically inclined composers like J.P Decerf, Sauveur Mallia and Yan Tregger, Andrei Nikolsky conjures up cosmic vibrations of some long-lost Tele Music library, filled with squeaky synths, shimmering solinas and funky clavs, with help from Kanpai Quartet members Charlie Searle on bass and Euan McGinty on guitar.

The Bombillas have emerged with two new original compositions in their recognizable sound of psychedelic eclectic soul meets world funk. "Hatif" b/w "Kidi Bloom" takes you on a narrative journey into the unknown.

Imagine speeding down Highway 10 into the desert at sunset, top down with one hand on the wheel; you end up all alone at night and hear a mysterious voice calling, screaming in your ear, but nowhere in sight. This imagery sets the stage for Side A, "Hatif." Lead by a driving phased-out strumming acoustic guitar and interweaving melodic lines from David Michael Celia on Keys and Tyler Nuffer on Electric Guitar, "Hatif" takes inspiration from the psychedelic funk and rock sounds of North Africa and The Middle East in the 1970s. Held together by the steady groove of Bassit Josh Wiener and Drummer Joey Campanella, The Bombillas explore sonic imagery and imagination in their interpretation of the Arabian Folklore, Hatif.

Then, on Side B, The Bombillas bring it down a notch with "Kidi Bloom." Featuring Patrick Bailey (Jungle Fire) on lap steel, "Kidi Bloom" continues with the desert imagery and mystical encounters one may find at night, strolling through the endless open landscape. Again, held together by Wiener and Campanella's solid groove, Celia and Bailey weave their melodic voices, creating a conversation of question and answer, or human and higher power. "Kidi Bloom" takes an ethio-inspired groove and flavors it with stoned-out psychedelic funk and country twang for a truly unique cinematic experience.

The story of So-Do is both familiar and completely unique. A classically trained multi-instrumentalist with a poet’s sensibility and a passion for folk music meets a worldly bar owner with a love for psychedelia, post-punk and dub in the small town neither could bring themselves to leave. Over two years, they play dozens of shows in independent live houses across Japan, cut and self-release three singles – two 7”s and a 12” – and leave behind just eight tracks, all of which are set to be reissued for the first time forty years on.

So-Do’s Studio Works ’83-’85 collects the full output of this iconoclastic post-punk phenomenon, whose sparse, syncopated arrangements were infused with a dubbed-out flair that owed more to Dennis Bovell’s productions of Orange Juice, the Jah Wobble basslines of Public Image Limited or Adrian Sherwood’s live dubs of Mark Stewart than even they knew at the time.

Because for lead songwriter Hideshi Akuta, music offered an escape from the existential malaise of small-town life, folding a melancholy nihilism into tracks like ‘Kakashi’ and ‘Hashiru’ (which translates as ‘run’), or taking aim at the inequalities and creeping apathies of the middle classes, as he does on ‘Get Away’ and ‘Nothing’.

And if Talking Heads had CBGBs, Sex Pistols had the Roxy, then So-Do had Buddha. Influenced by Buddha venue owner and amateur producer Atsuo Takeuchi, Akuta turned So-Do’s sound towards dub, crafting playful, ironic and funky compositions that crackle with live energy at the vanguard of Japan’s nascent independent music scene.“So-Do is hard to explain,” Takeuchi says. “It’s been a struggle for years to try to find the words for our music.” The answer perhaps, is just to listen.

Both familiar and completely unique, So-Do extend Time Capsule’s genre-defining exposition of Japan’s reggae-inspired music of the ‘70s and ‘80s, as collected on the label’s two critically acclaimed Tokyo Riddim compilations, and London-based live outfit Tokyo Riddim Band.

Embracing the rip-it-up-and-start-again ethos of the early ‘80s, So-Do burned bright for a short time and then burned out. Their legacy is about to be reignited. Expect it to catch alight once more.


All songs are written & composed by Hideshi Akuta

Produced by Atsuo Takeuchi

Artwork by Ben Arfur
Liner Notes by Anton Spice, Ayana Honma, Kay Suzuki

Curated by Kay Suzuki

Licensed from Atsuo Takeuchi (Oregano Cafe)

Tape Restoration and Mastered by Mike Hillier at Metropolis Studios, London, UK

Time Capsule | TIME023 | 1983-1985 → 2025

repressed !

With this Ep for Mother Tongue Gerald Mitchell really shows what Soul is all about. The first Los Hermanos Ep on vinyl in over a decade brings it back to Church and then some! From the Gospel tones of the dancefloor smasher 'Another Day', to the electric techno-jazz of 'Binary Funk Infusion' featuring Bob Rogue think of Herbie's Dedication meeting Axis and finally closing and melting with 'Let Lot Live' featuring the incredible voice of Billy Love...it was definitely worth the wait.

Myk Derill pushes the boundaries of his techno further…

2026 Update: while stock last, this coloured vinyl now comes with a coloured cover “Exploring Different Shades of Techno since 2011”

This compilation is more than a selection of songs from Willy Nfor’s solo career in Nigeria—it’s the story of a man’s determination to live his dreams. Known as Willy Ngeh Nfor, he was a founding member of the Mighty Flames. One morning, Willy and his bandmates packed their instruments, grabbed a few clothes, and headed from Cameroon to Nigeria. Crossing the border on foot, they made their way to Onitsha.

“We left Cameroon with no contacts in Nigeria—it was an adventure. We’d heard about the FESTAC Arts Festival and felt we had to be part of it. Our first band in Nigeria was Pentagon Funk Band, sponsored by the 5th Brigade in Port Harcourt. Later, we moved to Onitsha and signed with Right Time Stores, recording Sweet Love (RTLPS 011) as The Mighty Flames. The sessions were at Decca Studios in Lagos, with a 16-track analog system. It was intense—no room for mistakes. We rehearsed endlessly before recording each take.” (Vincent Ekedi, Drummer, Mighty Flames)

Willy’s journey was shaped by his resilience and talent. Losing his mother early and facing family struggles, music became his escape. Inspired by funk and jazz-rock greats like Bootsy Collins, Jaco Pastorius, and Stanley Clarke, he honed his skills on bass and composition, playing with local bands alongside musicians like Vincent Ekedi. Together, they refined their grooves, dreaming of brighter futures.

After his time in Nigeria, Willy moved to Paris, becoming a session bassist for legends such as Manu Dibango, Mory Kanté, Tony Allen, Akendengue, Ray Lema, Jean-Luc Ponty, and Kanté Manfila. Touring extensively, he lived the “Star Life” (Star Life, Cornerstone Records, Feel So Fine, 1981), playing funk grooves with giants in grand venues, fulfilling his dream of the spotlight.

Here comes a first EP by Josh Ludlow for Toy Tonics. Mastermind of Make a Dance aka M.A.D. records. London’s best kept secret (or not so secret anymore) of new underground dance weapons that are played by everybody who counts in the scene.

Josh delivers a hot 4 -tracker that will move people on dance-floors worldwide. Combining 1990es filterhouse influences, 2000’s indie dance and some of the edgy contemporary funk moods that are lighting up clubs these days. The post - techno generation likes it funky and Josh delivers. Fitting perfectly with the vibe of Toy Tonics this EP will find a lot of friends. In fact Josh knows how things work.

Josh Ludlow has been steadily honing his craft over the past 15 years. Starting out releasing Drum & Bass under the ‘Squash!’ moniker in the late 2000’s whilst also playing drums in bands. The former gave way to live touring and it was only in 2020 when Josh resurfaced with some new electronic music.

The impetus for releasing this new material was when Josh Ludlow & Ben Lewis formed there beloved project ‘Make A Dance’ (which then went on to establish the imprint) M.A.D. Records during the pandemic.
Since then M.A.D have made a big impact on the underground scene, become regulars at places such as Fabric, Heidegluhen, Gottwood and gained DJ support of propel such as Laurent Garnier, Optimo, Palms Trax and Peggy Gou and across BBC Radio1 and regularly Cover show’s on NTS for Long Running Host’s Moxie and Apiento.

This is just the beginning.

- Channel Tres releases his debut album Head Rush via RCA Records.

The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.

The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.

But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever

PulciPerla will unveil “Tatekieto”, their new album, on its release, January 04, 2025, on Prado Records / Cie Pulcinella / The Pusher. This opus will be presented on Wednesday, February 05, 2025, on the stage of FGO - Barbara, Paris (France) during an exceptional launch concert. The eponymous single “Tatequieto” was released on all platforms on November 22, 2024.

Take an iconoclastic and energetic quartet from Toulouse, combine it with a female power trio from Bogotá, shake it up, and you will get Pulciperla!
After an explosive encounter in Colombia in 2019, the fiery trio La Perla and the unclassifiable Pulcinella decided to create an original repertoire: a hybrid, swaying, and sensual music where vocals, saxophone, keyboards, double bass, and percussion blend generously, driving a powerful trance-like pulse. A quirky and striking repertoire infused with bullerengue, reggaeton, funk, and champeta influences, which stirs the fire and gets you moving. The tribal music of La Perla’s percussionist singers merges with Pulcinella’s explosive groove to electrify the audience and awaken their primal instincts!

PulciPerla is composed of :
La Perla: Diana Sanmiguel: vocals, maracas, guacharaca;
Giovanna Mogollón ‘’Roberta Leono’’: vocals, tambor alegre;
Karen Forero:vocals, gaïta, tambora
Pulcinella: Ferdinand Doumerc : saxophones, flutes, keyboards;
Jean-Marc Serpin: double bass;
Bastien Andrieu: keyboards ;
Pierre Pollet: drums

After the success of the previous three chapters, Cristian Cosignani, also known as 5UNIVERSOS, presents a compelling fourth volume, a richly layered album infused with rhythmic elements that are perfect for the dance floor. With a distinctive blend of sophisticated house and minimalist dub, the Mantra EP is crafted to immerse the listener in the elevated vibrations of its four tracks, each serving as a meticulously designed groove instrument.

The journey begins with "Mantra," featuring a sequence of syncopated bass lines and deep vocals laid over a strict, minimalist drum pattern. "Thastha" follows with a funky bass progression, complemented by a sensual female chorus and a retro drumbeat, evoking a sunrise at sea.

On the B-side, "Greet" delivers a dry, rhythmic punch with a bassline that aims to make listeners smile with their eyes closed, as the filter opens and closes.

The EP concludes with "Tolerance," which introduces a Balearic string arrangement, adding a deeply spiritual and introspective layer to the overall experience.

This album is undeniably a pure expression of rhythm and the club atmosphere - an essential addition to any collection.

Chileans Are Playing

Master by Claudio Solis

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Globetrotting Texan trio Khruangbin are set to release ‘Hasta El Cielo’, the band’s glorious dub version of their second album ‘Con Todo El Mundo’. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.

The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t fnd this a surprising release. Dubs of tracks from their frst album ‘The Universe Smiles Upon You’ appeared on limited vinyl releases of ‘People Everywhere’ for Record Store Day 2016 and ‘Zionsville’ on the Boogie Futuro remix 12”. The especially eagle-eared willhave caught a dub of ‘Two Fish And An Elephant’ playing over the credits of the track’s celebrated video.

“For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The frst dub albums we listened to were records mixed by Scientist featuring the music of the Rootsb Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo.”- Khruangbin.

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.

Since the album’s release, the band have continued their almost non-stop approach to touring, playing over 130 dates in 2018 alone. They return to the UK this summer for festival shows at Green Man, Latitude, Mostly Jazz, Funk & Soul Festival and Barclaycard British Summer Time.

Bronze, Silver & Brass swing in horns blazing with their electrifying second 7" vinyl single on Timmion Records. "Renard's Groove" and "Brass In Motion" expand the musical range that can be distilled from a brass band mixed with guitar and funky drums. You are in for a cinematic ride through funk, soul, and jazz-inspired terrain. On the A-side, "Renard's Groove" delivers fast-paced, library soundtrack style funk. Driven by a tight guitar riff and solid breakbeat drums, this instrumental gem stages a high-speed chase though the grimy alleyways of a nameless 1970s metropolis. Flipping the record reveals the B-side, "Brass In Motion", a mellow mid-tempo instrumental that once again tips its hat towards the golden age of independent jazz funk. While maintaining the funky soundtrack mood, its lyrical chorus and unhurried pacing make "Brass In Motion" a perfect pairing for the frenetic energy of its counterpart. With their second release, Bronze, Silver & Brass continue offering fresh sounds for those who have an ear for uncomplicated funky instrumentals. The digital package of the group's singles comes with a digital only bonus track "Boondocks", that reveals another sweaty street funk workout for getting your dance on.

Nomada Records welcomes proudly one of the greatests and finest south america producers; Based in SAO PAULO (BRAZIL); Pedro Zopelar has built a distinguished reputation as a producer in the electronic worldwide scene under his alterego “ZOPELAR” and parallel projects such as “MY GIRLFRIEND” “SPHYNX” and “L’HOMME STATUE”. He has released and edited music on big labels such as APRON, TARTALET RECORDS, SOUL CLAP RECORDS, MOTHER TONGHE, ROYAL OAK, SELVA DISCOS, AXE TRAXX, TECHNO HOUSE CONNOISSEURS and many others.


“HORIZONTE EP” is a five track release where We can enjoy is unique synth funk and deep disco boogie soulful house sound. The A-SIDE starts with “HORIZONTE” an uplifting house track with a flowing chord progression, lush pads and addictive bleep melodies. “LET IT LIVE” is a heavyweight deep House track which is ready to smash dancefloors with its meaningful saxophone solo. On the flip ZOPELAR opens with “PURE HEART” a melancholic and deep synth jazzy house track which is perfect for closing or starting a set at 6 AM. The B-Side Closes with “VENUS” and “SERENA FEAT. PR.A.DO” two surreal balearic summer house tracks where We can experience the musical richness and warmth from zopelar’s compositions

70s Nigerian psychedelic soul rock to be filed next to Shuggie Otis’ Inspiration Information. Some albums are more than the sum of their parts. This is one of them. Nothing quite explains the luscious layers of sounds. The wholesome feeling that exudes from the first note to the last. Shuggie Otis meets Grotto/Ofege is what comes to mind.

The band was a ragtag band of teenage musicians who hung around Federal Palace Hotel in classy Victoria Island, listening to the resident band, led by the incomparable Yom Yem with Papa Doe and Gboyega Adelaja on keys. Frank who had some experience stringing around studios in Lagos, approached the George Veira (Vocals, Guitar), Nadi brothers (Clifford and Gerrard) with the idea of making a record. Odion Iruoje had enjoyed massive success with Ofege and Frank knew he might be open to the idea of producing the band. “It happened very fast, as Georges had songs already written or half completed. We started jamming with a few gigs at Surulere Night Club, which was run by Tee Mac at the time. Odion heard the material and did not need any convincing. We Then we went into the studio to lay the vocals, drums and guitars. The keys and further production was done in London.

“My routine at the time was to finish records in London, at Abbey Road Studios. It was the best way to get the sound I wanted and allowed my use London based musicians which brought a special flavour. I liked to lay the rhythm tracks and vocals at our Wharf road studio in Lagos. That was the core of the work”. Mr Odion Iruoje

(Resident A&R exec/Producer, EMI Nigeria)

It starts of with jacking proto ACID house song called Delayed Attraction. A song that would have made the kids crazy at the Music Box in the mid 80's. And are still as uplifting for all us house heds. The second song Tear Gas takes us back to Europe, with a slow Belgian beat that moves like a train and hits you straight in the chest, and on top of this a monotom synth pad on top of that it gives the song a some what a scary dream feeling. The third song Nasjiga is taking us further in to the complex dream but packaged in a Detroit electro vibe with sounds that makes me think of a hospital hart beat monitor but then mixed up with bit-crushd lo-fi dragon covers in a dubby inferno that keeps on building up without coming to a climax (in a good way). The forth song Verfolgung is a 8 minute stomping song that's starts of in a Burzum sounding flute but the quickly goes over to a freaky baseline that's sounds like its made out of a congas patch and a detuned bass on top of that. On top of that they put a march bands drum pattern that gives this song a freaky tivoli vibe and would be such a banger a the right time of a DJ set. /Jens W Limited numbered to 200x * Delayed Attraction - With a bumpy baseline that grooves, hard hits on the drum machine, this is are both funky and hypnotic. * Tear-Gas - A mid-tempo acid journey that blends funky drum patterns with psychedelic trance strings. Typical FRAK's acid-outed sound, with a hypnotic and thumping beat and bassline. * Nasjiga - The B-side kicks off with a deeply dubby and tribal vibe, with splashing hi-hats and echoed percussions. like the heartbeat of an underground train going of the rails. * Verfolgung - This track kicks hard with a marching beat that builds into a funky disco. It's playful yet progressive energy leaves you with a smile on your face and your feet moving on the dance floor. Honk Honk! // Dj Jespha Galore

Originally released on 13th September 1994, Ready To Die is the debut studio album from hip-hop legend, The Notorious B.I.G. Upon release, the album was met with widespread critical acclaim, with Pitchfork giving it a 10/10 rating along with various other critics praising it for its brutally honest depiction of gang violence and conflict as opposed to the often-glorified portrayal in the genre and the wider media. The album has cemented its place in hip-hop history and has since gone on to achieve 6x platinum certification in the US, selling over 3.5 million copies, and has achieved platinum status in the UK as well.

This x2LP re-issue featuring the iconic artwork of an infant bearing a resemblance to the rapper has been out of the marketplace for over a decade and also features all 19 tracks from the Ready to Die Sessions.

The album cover is often cited as one of the greatest of all time, with Billboard magazine placing it no.4 on its list of “The 50 Greatest Album Covers of All Time” stating that juxtaposition of the music with the “innocence of a child” on the cover illustrates how “a cruel world imprints on unmoulded minds”. NME has also placed it no.12 on its list of “Timeless Hip Hop Album Covers” and Complex Magazine have placed it at no.16 on its list of “Greatest Album Covers”.

In our current perspective of dematerialization, where screens and chips have flooded the world, we find ourselves deprived of what makes us feel alive: physical connection.

Far from the ever intangible digital realm, people and records help us maintain this bond.

True to this philosophy, DiskCard was born and for the first release, Alich comes through with a perfectly matching aesthetic: five crunchy squashed and chippy infused tunes meticulously scraped out from small synths and pocket devices, giving his EP an undeniable character and setting the label's prime footprint.

For the music that matters, there is DiskCard.

ADE is just around the corner which means it’s time for the annual Vega Records 5 Pack Unreleased limited vinyl release.

Unreleased V is ready for you to play at your vinyl parties with a lineup of super talented individuals including Bebe Winans, Msaki, NV, Funki Cadets, Axel Tosca, Boddhi Satva, Tommy Bones, Johnny Dangerous, Dj Erv, Natasha Watts, Mobi Dixon, and Josh Milan. This year we hit you with 18 Unreleased tracks, special versions, dubs, and more for your dance floors and house parties. With 5 new reworks by Dj Erv to new young talent NV, to seasoned songwriter and genius talented artist Msaki, to the incomparable Bebe Winans, to Brooklyn producer Tommy Bones, to the maestro on keyboards Axel Tosca and more, this 5 pack brings you around the world within 18 tracks from Brazil to Africa to Cuba and back to New York City ! The pressing is pristine mastered by Herb “Pump” Powers and vinyl manufactured at Optimal Germany assuring you top quality excellence! This is a limited edition so get yours asap before they sell out! Available soon at a record store near you!

Published: 21st October 2024

Its been an incredible journey so far for the Austrian label Fortunea Records. Founded in 2014 by Vienna-based dj and producer Klaus Benedek it was originally launched to release his own productions. But over time many of his friends and colleagues from the scene send him demos. And since then it grow exponential and is now an embodiment of the capitols house and electronic music scene.

Now they are celebrating the labels 10 year anniversary with a 2x12“ vinyl compilation called ‚Down The Danube River‘. This package features 9 tracks by already established figureheads (Peletronic, Dzc., Moff & Tarkin, Jakobin, Nick Hanzo etc.) aswell stunning new productions by new faces (gutinstinct) and projects (SXP). Ranging from bass dub heavy broken beats, deep and funky house tunes to experimental cosmic downtempo trips.

Available soon in a record store near you!

The second offering from Mud Trax, a division of MixCult Records is a compilation to remember.

With Dub Tech laid out in all its many forms and moods by a dynamic assortment of rhythms, it is nothing less than exquisitely fresh pop manipulative.The album features contributions from Kirill Matveev, Ataneus, Genning and Etzu Mahkayah. With an electrifying mix of dub's sprawling scope and acid's driving rhythm, even a record that pushes sound the way this one does can come off totally funky.

Kirill Matveev & Wiklauri's Ioli (Kirill's Version) makes for a promising opening, melding into deep dub its ethos of acid, a psychedelic blend that touches the nerves of those who love to dance. Ataneus takes it further on A2 with Napolitaner, a track that is like nothing else: dense, dub-coloured layers of sound, which create a steadily seductive momentum able to steal listeners away into temporal plunge.

On the other side, B1's Red Lights by Genning is at once a punchy piece and a dancefloor phalanx of sound. A work meticulously sculpted by the speakers, yet redolent with natural energy-Geistgemäss.
The journey is brought to a close by Etzu Mahkayah's Cs-137 on B2, hypnotic grooves offering equal parts reflectivity and pumping energy.

Taken together these tracks provide an experience that is euphoric yet absorbing, each not only embodying Dub Tech but also pushing it in new directions.

Two And Half Records returns with the third Release!

We are thrilled to announce the release of our new V.A., Each artist brings their own unique style, resulting in six tracks that are distinctly different from each other.

French producer Akyki, opens the DANCE with a wicked funky beat and catchy sounds. His music is a real injection of good vibe.

Cene & Esqueena, this Italian duo continues to make us dance with energetic Synths, captured during a live jamming. Every note is a pure groove feeling.

The young french talent HRM concludes the DANCE side with edgy electro sounds and seductive vocals, perfect to spice up the dancefloor.

Alex Vincent, German producer opens the LISTEN side with a mix of gentle electro sounds and IDM influences, sweetened by warmly snuggly melodies. A deep journey of sound to be shared intensely.

Jonny3snareS live performer from the UK, invites us to “escape” into a parallel dimension with his magical music, Synths and Drums run hand in hand harmonizing perfectly.

Foreign Sequence, from France, concludes with an IDM track with full and powerful sounds enlivened by delicate acid melodies. It is the perfect ending that encapsulates all the emotions of this EP in one track.

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

We are proud to bring you part II of the CEP VA series, featuring six tracks that span a wide range of genres. Each track brings its own signature to this release, making it truly one of a kind.

Beta.V opens the A-side, fusing self-sung vocals with multiple synths that harmonize beautifully together to create a timeless track. This is followed by SWART's 'Eternal Raver', much akin to old-school trance thanks to hypnotic synths and dreamy textures creating a meditative state. A3 introduces ETERA’s 'Classic Shit', a dancefloor weapon with stomping beats and crisp, background drums signaling the signature sound of ETERA himself. On the B-side, SZG stands out with its gated synthline, pounding bass, and catchy vocals from Brazilian MC DDSV adding that unique energetic spin to this release. DJ HENNE’s 'Roboter' on B2 is a hard house slayer featuring a deep mid-track breakdown and self-sung vocals - a DJ HENNE classic. Wrapping up the release, Pōnky combines groovy, funky plucks with a smooth finish, closing the EP out on a playful note.

'Pursuit Of Change' drops via CEP Records on 29th November 2024.

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

LRK Records is excited to announce their next special limited edition 45 by Bella Brown & The Jealous Lovers. Due to high demand from DJs and fans alike, we're bringing the in-demand 'Soul Clap' (Radio Edit) to 7". The most streamed track from their album of the same name, this radio edit condenses the energy of the original, which runs over 7 minutes, into an electrifying 3 minutes and 54 seconds. The A-side will be revealed soon, with a special track announcement coming in the next few weeks.

Bella Brown & The Jealous Lovers, originally from Chicago and now based in Los Angeles, are known for their dynamic fusion of 60s/70s soul and funk. Fronted by the Grammy Award-winning Bella Brown, who embodies the power of Tina Turner and Sharon Jones, they channel the fierce spirit of 70s Blaxploitation icons. Backed by The Jealous Lovers, they offer a fresh, modern twist on traditional soul and funk with high-energy live performances.

'Soul Clap' is a dance floor-ready track with Bohannon-style rhythms and James Brown-inspired funk. It's a celebration of the communal energy shared between musicians and audience, perfect for DJs looking to bring the party to life

The new single, "Always Christmas Eve" is an instant holiday classic. The song pays tribute to the band's Chicago soul roots and is produced in their signature style. This original composition offers a modern take on classic soul, featuring real instruments, genuine performances, and authentic artistry. True to the tradition of Bella Brown & The Jealous Lovers, the song carries a meaningful message: "Always Christmas Eve" shares a hopeful message of Christmas joy in an imperfect world, highlighting the goodness in all of us, and reminding us that we can embody the loving spirit of Christmas in any season, even during challenging times.

"Always Christmas Eve" drops digitally November 15, 2024 and will also be released, through LRK Records, as a special edition 7' colored vinyl 45. The 45's B-side features the group's "Soul Clap - radio edit". A funky dance track, which was digitally released as a preview to their Soul Clap LP, and is now making its vinyl debut. The radio edit has already racked up tens of thousands of streams and received extensive airplay across Europe, North America, South America, and Japan.

So Happy Holidays from LRK Records and Bella Brown & The Jealous Lovers!!

Grey/silver coloured vinyl 45

Truth Manifest Records is proud and excited to release Beyond Jazz Volume 2, the second volume in this wonderful, futuristic four-part series!

This stellar vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue. As we travel to the edge of our senses with Beyond Jazz Volume 2, it is immersed in poetry pulling on the heartstrings of urban reality. This is where live meets a hip-hop foundation, sped up and transformed into a dance jazz Afro-Cuban up-tempo banger, to tell the story of the groove. Put Volume 2 to a funky jazz lick phrase, reminding us that through the struggle, there is victory. Let your spirit shine as you feel the essence of boom bap jazz.

This powerful collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz

DJ Support: Chris Stussy, Enzo Siragusa, Dr Banana, Rossi., Voigtmann

HOME//GRXWN ends the summer with a captivating EP from Dutch talent Milion… Showcasing his electroside, the EP consists of dynamic blends and high-energy beats, cementing Milion's influence of garage and electro to create high energy tracks that amplify the dancefloor. On the A side, ‘Adventure Time’ demonstrates a euphoric and genre bending take on Electro .‘DALIA’ naturally become a club favourite to many including, Dungeon Meat, Rossi., Enzo Siragusa and many more. On the B Side ‘Machines Breathe’ is an exposition of emotions that machines and computers can evoke when infused with soul… Rounding off the EP with a Voigtmann special remix of ‘Machines Breathe’ with the use of his signature sound where groove and funk are ever present.

After a string of ambient and experimental releases across labels such as Bedroom Suck, Best Effort, Ken Oath and Analogue Attic, Matthew Hayes - veteran bassist of Z*F*E*X, welcomes his latest project Xpress Point, designed to keep your hips moving rather than kicked back on your couch. Born out of jam sessions and collaborations with artists such as Dreamcastmoe, Jitwam, Ziggy Zeitgeist, Finn Rees and Allysha Joy and an obsession with reclaiming the nostalgic sound sounds of the Korg M1 and Yamaha DX7, Xpress Point, which takes Its name from a local surf break off the coast of Phillip Island, draws heavily from the boogie tradition with a nod to vapourware, downtempo, balearic and funk breaks.

Assembled in 2023 across Melbourne/Naarm, London and Berlin, from surf breaks to crusty drum breaks, Xpress Point is a vehicle for Hayes to search for the perfect bass line, explore funk minimalism, continue nurturing longtime musical relationships with close friends and offer his own take on music to make you move.

Fom the Sleevenotes by Paul Murphy: Jazz Room Records:

"I took a trip to the If Music Store, 2nd Floor, above the paint shop and that got me hooked on the sound of COPA SALVO.

"You NEED this!" said Jean-Claude. "They're an amazing and unique Jazzy Combo from Japan!" But at the time I was stuck in some dead end Gulag job getting things together for the launch of a record label idea I'd been working on and the bobs were just not in abundance. Especially in the part of the wallet marked "Japanese Vinyl Import Department". But he gave it a spin and I was pretty much hooked from that day on.

Things soon looked up though and the next sighting of COPA SALVO was on the BBE Records release: A Journey Into Deep Jazz Vol. 3 (Compiled by that very same Jean-Claude!) which featured COPA SALVO - Hasta La Victria Siempre, a pounding piano driven homage to Fidel which incidentally is one of the featured numbers of the album that is soon to be released on Jazz Room Records.

I kept looking for more COPA SALVO as I was really intrigued by the sound they produced and, over a period of time I managed to obtain nearly all of their sparse catalogue. Once Jazz Room Records had started to get established and the release of the Colin Curtis Presents: indigo jam unit compilation had been a success I thought "Time for COPA SALVO to make their Jazz Room debut!"

This Jazz Room Records Compilation will feature their unique and highly original compositions which are an energetic meltdown of Funk, J-Jazz, Afro-Cuban, Boogaloo and range from the Heavy Latin Jazz Vibes of Bolivia 67 to the Kung Fu '70's sound of Tong King Rock with a journey that takes in an Eastern Folktale and a Jump Up Life along the way."

Vocal/Guiro : Tadahiro Masuda

Piano : Eri Konishi

Bass : Hironori Kobayashi

Percussion : Yo Sato

Percussion : Pyon Nakajima

Timbales/Drum : Peach Iwasaki

Marc Mac's Visioneers project returns after a long anticipated wait with a summary of everything we've loved about the project and more. The classic Hip Hop joints reimagined, BBOY bombs and the super-fly Jazz n' funky lounge originals have all become Visioneers trademarks. The record has you sitting back chilling and head nodding for one song and wanting to jump up and bust a move on another. The addition of guest musicians from all parts of the globe brings another dimension to the grooves and compositions. A very dope welcomed return for the Visioneers.

Available in 2 x 12" 180g Heavy Weight Vinyl and CD (with bonus tracks)

Moodena’s London-based imprint Tropical Disco’s latest offering is a shimmering journey into the heart of the underground, blending nu-disco, classic house, and contemporary electronic funk in a way that feels both nostalgic and totally fresh. Featuring four standout tracks from Vagabundo Club Social, Scruscru, Da Lukas, and Fun Kool feat. vocals from Bcleo and Anna Dee Tee, — the EP is a testament to the evolving sound of the dancefloor, where groove meets grit, and melody flirts with sultry rhythm. This release channels the spirit of sweaty basement parties, neon-soaked nights, and a collective desire to get lost in the music.

Opening the record is Colombian duo Vagabundo Club Social, presenting Latin-soaked funk colliding with shimmering brass instrumentation, creating a deep, rolling pulse that invites movement from the first beat. 'Zumba Z' is a track that feels right at home in a DJ’s warm-up set or closing down an all-nighter, with a hypnotic flow and vocals that seep into your bones.

Scruscru’s story pushes things deeper into late-night, cosmic territory. 'Konyaalti' is a lush, sun-drenched production, utilising sublime sax, Scruscru delivers a cut that's both playful and distinctly driving.

Da Lukas adds a sophisticated touch, remixing Rosario Cristofaro, and taking you on a slick ride that leans into Italo-disco influences. Swooning synths and crisp percussion form the backbone while gliding melodies create a sense of elevation. It’s elegant yet laced with energy, ideal for a peak-time set where the vibe is euphoric but refined.

Rounding off the release is veteran DJ and producer Gerardo Cinquegrana, whose playful Fun Kool moniker belies the serious funk he delivers in his production. German-born, and now Italy-based, Fun Kool’s sharp, syncopated rhythms and sexy vocal lines from Anna Dee Tee bring an irresistible groove to the forefront, with the kind of bassline that takes over your entire body and mind.

Altogether, 'Tropical Disco Volume 28' encompasses a record that’s both familiar and exploratory—rooted in the timeless grooves of disco and house but pushing forward into new musical territory and picking up sonics from different continents along the way. Whether you’re looking for late-night celestial cosmosis, sophisticated Italo-inspired dubs, or straight-up, no-nonsense funk, this release has something for every dance floor.

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Glenn Astro leans into the twilight months of 2024 with a new album from his Delta Rain Dance project. Divining fourth world sensibilities from his restlessly curious studio workflow, Astro weaves a mesmerising tapestry of sound on Music For Autumn which treads the line between horizontal meditation and head- nodding, backroom-ready groove.

Amongst his constellation of myriad aliases, Delta Rain Dance spells out the inspiration Astro takes from fourth world pioneer Jon Hassell. The project first surfaced with a string of tapes, LPs and digital releases around 2018, all carried on a label of the same name to keep Delta Rain Dance enclosed in its own space
independent of Astro's many other musical endeavours.

"I’m really into the world building aspect in science fiction and fantasy," says Astro. "This is my way of creating worlds and spaces that co-exist next to each other. Sometimes they collide but mostly they exist peacefully next to each other or pursue some form of cultural exchange by collaborating with each other."

There's a strong sense of balance and cohesion throughout Music For Autumn, as organic percussion and instrumentation wraps around delicate synthesis and patient drum machine pulses so naturally it's hard to spot the joins. The sound has plenty of room to stretch out, from the mantra-like chimes and rattles of the album opener 'Green Light Fade' to the luxury funk of 'Mmmh, Nice' (featuring fellow Tartelet alumni Nelson of the East). At times the electronic elements seem to entirely dissolve, not least behind the loping strings and tumbledown percussion of 'Second Sleep', while achingly beautiful closer 'Plucked' centres on the fluttering movement and expression Astro elicits from his modular setup.

True to the project's influences, a consistent ambiguous mood lingers in the air over Music For Autumn somewhere between far- flung mystery and comforting familiarity, reliably calm but equally contemplative. It's an odyssey of serenity with enough nuance to make you really think, perfect for the days getting shorter, leaves crunching underfoot and the last fading rays of warmth from the sun.

"Killer edits!" - Gilles Peterson

Monologues boss Ben Gomori has found acclaim far and wide with his official edits of African gems for labels like Sterns Music and Analog Africa (for artists including Orchestra Baobab, Amadou Balake, Oby Onyioha). Here he rounds up four of his reworks of tasty tracks from artists across the Afro-Caribbean spectrum on four edits licensed from the good folk at Mr. Bongo, Soundway Records and Analog Africa.

South African legends Marumo's joyous 'Khomo Tsaka Deile Kae' gets a good juicing, full of triumphant energy, while Black Truth Band's infectious 'Umbala' is stripped back to a slinky, bumping disco groove. An exuberant slice of 1980s Camerooon comes from Emmanuel Kahe Et Jeanette Kemogne on 'Ye Medjuie', where rousing trumpet refrains meet undulating bass funk. Peter Britto's gorgeous lo-fi soca anthem 'I Want Your Love' rounds off the package, its sweet melancholy given an extra bit of energy for maximum dancefloor effect.

Support comes from the likes of Gilles Peterson, The Blessed Madonna, Make A Dance and Tigerbalm.
Or

(incl 40p fanzine written by Matt Annis with photographs by Simon Pyke and Ian Brodie) Postpunk Theory is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo and more.



Defining post-punk is no easy task. While punk was defined by a raw, rebellious simplicity, post-punk (1978-1986) expanded into a diverse array of sounds and ideas. It maintained punk's independent spirit but embraced experimentation, incorporating influences from various musical and cultural traditions, resulting in a movement far more eclectic and fragmented than its predecessor.

At its core, post-punk broke away from traditional rock structures, blending genres like industrial, goth, and punk-funk with emerging dance music cultures. This era's spirit of innovation and defiance against musical norms continues to inspire, making post-punk a pivotal moment in music history that defies easy categorization.

Tony Thorpe presents Postpunk Theory - Alpha ? is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo, African Headcharge, and more.

Growing up in a vibrant musical environment in South London, Thorpe was deeply influenced by the eclectic sounds around him, from jazz-funk to Brit-Funk, and later, the post-punk records he discovered. As Thorpe recalls, "Post-punk was a mishmash of different cultures and ideas. Out of post-punk came dance music culture. That period was the most creative time because the culture was in its experimental phase." This compilation captures that innovative spirit, offering a glimpse into the era that shaped Thorpe's musical journey.

The album comes as a limited 2xLP set, accompanied by an extensive 40-page fanzine. The fanzine, written by Matt Annis (Join The Future), dives deep into the post-punk movement, offering insight and context enriched with striking photographs by Simon Pyke and Ian Brodie.