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VBX Records hits double digits with the Stutter Rolling NRG EP, a slow-burning four-tracker from Bangkok native DOTT.

Across this release, he delivers a kaleidoscope of intricate sound design, firmly rooted on the deeper end of the spectrum. Tension and release are woven through every bar, as shimmering textures meet tightly wound grooves with a warm, introspective edge.

A subtle yet potent entry in the VBX catalogue, this tenth installment balances movement with mystery, designed as much for the floor as for the heads.

Arizona-based producer Kareem Ali returns with Renewal, his second EP on the French label Noire & Blanche, a luminous blend of deep house, jazz, and Afrofuturism that captures both personal and collective transformation. Praised by Rolling Stone, Pitchfork, and Boiler Room for his visionary sound, Ali continues to expand the language of modern electronic music with a project rooted in emotion, movement, and hope.

Across five tracks, Feel Everything All At Once, On My Heart, Procession, Wake Up My People, and Want, Kareem Ali invites listeners to experience the full spectrum of feeling. Opening with the warm, jazz-infused pulse of Feel Everything All At Once, the EP unfolds into the hypnotic rhythms of Procession and the heartfelt refrain of On My Heart. The soaring horns and urgent groove of Wake Up My People capture the project’s spirit of resilience, before closing on Want, a meditative reflection on desire and renewal.

Drawing inspiration from Sun Ra, Miles Davis, and Underground Resistance, Kareem Ali continues his pursuit of what he calls Future Black Music — a sound that merges the spiritual depth of jazz with the cosmic potential of electronic music. With Renewal, he offers not just an EP, but a vision: music as liberation, rebirth, and awakening.

For their very first offering, Hanna & Robbie unveils a 5-track album making an ever possible encounter between psychedelic fractured grooves and mellow sci-fi haze in a divergent electronic shell. Planet42 carves a slow-burning path through severance and trance, a trip back to the subconscious like an escape or a sin, guiding both body and mind into unfamiliar exploration

Taking a fey look on electronic performance, where dubby-inspired and fractured rhythms tend to unveil ethereal ambiances, HR was born and raised in the emergent underground electronic French scene and started being moving targets in 2023 with a first live show at the Supercamp Festival happy few’s gathering.
With a mosaic of gritty textures, clubby breaks and otherworldly echoes in the lead-off project Planet42, Hanna & Robbie dives deep in this restless esoteric tension their identity is all about : an spunky early signal sculpting precise and intricate yet atypical tones revealing this crawling need of delivering unsettled arrangements and dreamscaped lines. Already in the move for their next in order work, it is settled in their experimentation lab that new doses of psychedelia and delusive resonances were written as an incipit to a future alternative live act.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

Originally dropped in 1980 as part of Taking Care of Business, The Ted Coleman Band's only album, this 7" captures that sweet spot where jazz-funk meets rare groove perfection. 'If We Took the Time' is pure sunshine - think Roy Ayers on a slow afternoon, Billy Wooten in full cosmic flow, with shimmering vibraphones, velvet basslines and vocals that radiate soul from the Garden State to the cosmos. On the flip is the liquid and lively smooth and sexy delight 'Can You Feel It ' with buttery vocals and more cosmic bliss. Two glorious sounds.

cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3xLP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release.

Only the three members of cLOUDDEAD – Why?, Doseone and Odd Nosdam – can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the "cerberus of Southern Ohio" – would remain the atomic heart of their early recordings.

As Chris Martins writes in the liner notes, "The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves."

Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo "Apt. A" and "And All You Can Do Is Laugh" are perhaps most emblematic of the cLOUDDEAD experience. Why? and Dose create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while Nosdam's dexterous production shifts from crackling ambience of Flying Saucer Attack to tight Ohio Players drum breaks and oblique film samples.

Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow – a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it.

This edition has been faithfully restored by Nosdam. European exclusive version comes on clear vinyl, incl. fold-out poster and liner notes insert.

At 19, Helviofox adds his signature to the batida template that by now seems to have been in existence since forever. Such is the strength of this primordial fountain, a source of rejuvenation. Also within the literal family: Helvio cites brothers Dadifox and Erycox as main influences.

Curiosity for the sound made him go into production by the time he was 13. A couple of years later (2020) he became co-founder of TLS with E8Prod, Alberfox, DiionyG and other mates. His talent fully developed since then, opening a slight detour that became a new path parallel to the main road.

Lively basslines anchor the beat directly lifted from tradition and clearly channeled to the dancefloor. Strong, well rounded grooves, a spot-on sense of timing and tempo, elegant atmospheres, all part of Helvio's notion of arrangement and his perception of dance music boundaries, stretching them just enough to present a challenge but not as far as to disconnect head and feet and risk losing the floor.

This liminal space between experimentation and popularity is both dangerous and attractive. There is no one formula. Precisely why it still retains plenty of fuel for current and future generations to contribute personal visions.

Lisboa, 2025

Smoove pulls out two classic Hip Hop joints from 1987 & 1990 and gives them a fresh reworking utilising original multitrack parts while adding new samples and blunted head snapping beats.

Paid In Pounds - lovingly recreated with additional parts , slapping bass, 80,s synth pads and vocal cut and paste snippets aplenty

Ghetto - Using multitrack elements from the original 1973 score, Smoove flips the beat and strips back the track to its groove while showing off production techniques

Repress!

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. The fourth edition of the series pays homage to one of the most loved names in house music – Sandy Rivera. Known for his soulful dancefloor cuts he has produced timeless classics, with his long-lasting career and multitude of aliases captured by this 12” release. Opening the A-side is the Moodymann Edit of Kings of Tomorrow’s ‘Fall For You’, featuring the stunning vocals of long-time collaborator April Morgan, followed by Sandy’s grooving ‘Come Into My Room’ which features LT Brown. On the flip is Soul Vision’s ‘Don’t Stop’ with its atmospheric strings and gospel vocal. The release is closed with Kings Of Tomorrow featuring Elzi Hall ‘Show Me’, an atmospheric club cut that shows the versatility of this house legend.

If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.

But the story of Japanese reggae is not a linear one, and the music that is collected on Tokyo Riddim 1976-1985 captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.

Rather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.

Among them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lenzi’, Chu Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly & Robbie’s Compass Point sound.

Then there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenkini Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.

While these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.

Tokyo Riddim 1976-1985 is released on vinyl and as a full album download (no streaming), featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.

Released on 1st September, Tokyo Riddim 1976-1985 is part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1960s and 2010s.

2026 Represss

An artist who needs no introduction, Mike Dunn returns to the legendary NYC label Nu Groove with a four-track vinyl release that brings together disparate influences from the master’s encyclopaedic knowledge of genre and style.

What results are productions that are at once timeless, a quality that can only be achieved through the lived experiences of a four-decade career. Title track ‘Git’cha House On, Baby’ is a late 80s freestyle throwback, with hard synth lines running the show, while ‘Don’t Pay Me No Mind’ is a metropolitan anthem led by a solid piano groove.

Additionally, the vinyl features two tracks from Dunn’s ‘Rock Ya Body (Deepa)’; the lead, an effortlessly cool deliverance of pure, unadulterated house, and ‘Let’cha Love Fall Down On Me’ which swells and flows with addictive ease. Elevating all four compositions are the producer’s signature vocals, immediately arresting and suitable for all genres. Dunn’s status as an innovator was earned through creating and influencing the scenes we know and love today, and this new delivery of originals further cements his status as a 100% house master.

2026 Repress

Nick Bike hops aboard his groove machine again for another tidy two tracker that does disco differently., The A-side is 'Yabba Dabba', which is an edit of a classic Scandi-pop gem with plenty of the original melodies reworked into a fatter groove with disco claps. It's full of fun but also nice chunky drums and subtle effects that draw out the magic and up the funk. On the flip side is a dub that is a little more airy and light, with a dreamier edge for the zoned-out moments, but also a reverb-drenched vocal. Two effective and charming cuts for grown-up floors and magic moments.

The Byrds' Greatest Hits is the first greatest hits album by American rock band The Byrds and was released in August 1967. It is the top-selling album in The Byrds' catalogue as it provides a summary of The Byrds' history during Gene Clark and David Crosby's tenure with the band and also functions as a survey of the group's hit singles from 1965 to 1967, a period when the band had its greatest amount of success on the singles chart. From classics such as “Mr. Tambourine Man”, “Turn! Turn! Turn! (To Everything There Is A Season)” and “Eight Miles High” these are chiming timeless songs that will fill your heart with warmth.
The Byrd's Greatest Hits is part of the Groove Classics collection and now available against a fair, budget-friendly price.

"The Highwaymen were a country music super-group composed of four of the biggest outlaw country artists: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. The band was active as a group between 1985 and 1995.
In 1984 Glen Campbell first played the song ""Highwayman"" for Johnny Cash. The four were all together in Switzerland doing a television special and decided that they should do a project together. While the four were recording their first album, Marty Stuart again played the song for Cash, saying it would be perfect for them - four verses, four souls, and four of them. The quartet had the name for their new super-group ""The Highwaymen"", the name of their first album, Highwayman, and the name of their first single. It was a perfect name for them because they were always on the road and all four had the image of being outlaws in country music.
Both the album and the single eventually reached the top spot in the country music charts. Their cover of Guy Clark's ""Desperados Waiting for a Train"" reached the Top 20.
Highwayman is part of the Groove Classics collection and now available against a fair, budget-friendly price."

"The Highwaymen were a country music super-group composed of four of the biggest outlaw country artists: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. The band was active as a group between 1985 and 1995.
In 1984 Glen Campbell first played the song ""Highwayman"" for Johnny Cash. The four were all together in Switzerland doing a television special and decided that they should do a project together. While the four were recording their first album, Marty Stuart again played the song for Cash, saying it would be perfect for them - four verses, four souls, and four of them. The quartet had the name for their new super-group ""The Highwaymen"", the name of their first album, Highwayman, and the name of their first single. It was a perfect name for them because they were always on the road and all four had the image of being outlaws in country music.
Both the album and the single eventually reached the top spot in the country music charts. Their cover of Guy Clark's ""Desperados Waiting for a Train"" reached the Top 20.
Highwayman is part of the Groove Classics collection and now available against a fair, budget-friendly price."

You‘re feeling great, just bought new records and you’re ready to toss ‘em on the decks and let ‘em spin. Nevermind your bank account has you on a strict diet of yum yum noodles instead of that expensive, slow, regional stuff you normally get. „Anyway it was a good choice, I love records. It’s an investment..“ you are telling yourself while sliding the record out of its sleeve. „Cheap Fast Worldwide“ — black letters on a white background. You put the needle on the disc.

Punchy drums bathe in lush chords and you’re pulled into a smooth, lounge vibe. Tonight it’s caviar, not yum yum noodles. A playful bassline bounces in, with a nod towards disco roots and a modern twist. An unmistakable cheesy 90s melody is the cherry on top.

Aptly named, the inner track on this side greets you when a „One, two, three, quattro“ rings out over a tight, breaky groove. Meanwhile, rather deep, monotonous pads carve out space for your mind to wander…

As you flip it over, things start to shift. Strange melodies and dirty drums tease the unknown. Out of nowhere, the pitch drops, and a low, driving bassline takes hold. It pushes forward with a relentless energy that keeps you on the edge, unsure of what’s coming next.

A highly sophisticated fade out leads you to the last track — a raw and infectious drum groove laced with choppy vocal snippets and warm crackles. Stripped back, yet the beautiful chords slice through, adding depth and the right sense of movement, taking you deeper into the night.

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

Bass: Sam Jones
Cello, Bass: Isao Suzuki
Drums: Billy Higgins
Electric Guitar: Kazumi Watanabe, Kazumasa Akiyama
Recording & Remix Engineer: Yoshikane Okada
Executive Producer: Toshinari Koinuma
Piano, Electric Piano, Fender Rhodes: Cedar Walton

A gem of a crossover album from Isao Suzuki, who has continued to lead the Japanese jazz scene as a bassist.
Capturing the vibrant energy of the 1970s, this record has been rediscovered by club music aficionados and rare groove collectors alike.
The album fuses Van Morrison–like bluesy grooves with deep funk and jazz sensibilities, along with a uniquely Japanese melodic sense.

Shake Stew ist mehr als eine Band - sie ist ein Ereignis. Seit ihrer Gründung durch Bassist und Komponist Lukas Kranzelbinder umweht die Formation ein Hauch von Magie und Energie, der sich live in eine hypnotische Kraft verwandelt. Zwei Schlagzeuge, zwei Bässe und drei Bläser erzeugen einen Sound, der zwischen tranceartigen Basslinien, eruptiven Grooves und fragilen Klanggebilden oszilliert. Die Jury des Preises der deutschen Schallplattenkritik sprach von "etwas Kultischem", das den Jazz bereichert, während MOJO begeistert: "Shake Stew twists, blisters and burns like a fevered dream!" Ob im Club oder im Wiener Konzerthaus - die Band zieht alle in ihren Bann. Mit dem Jubiläumsprojekt TEN ONE TWO öffnet sich Shake Stew noch weiter: neue Klangfarben, freie Improvisationen, Kooperationen und eine Besetzung, die mit Yvonne Moriel eine aufregende Stimme integriert. Nach zehn Jahren, zahllosen Konzerten und internationalen Auszeichnungen ist klar: Shake Stew definiert Jazz als lebendige Kunstform - kompromisslos, visionär und voller Dynamit.

The Sugarhill Gang is an American hip hop trio, worldwide known for their massive 1979 hit "Rapper's Delight", which was the first rap single to become a Top 40 hit on the Billboard Hot 100. The track was the first exposure to Hip-Hop for millions of people.
The Sugarhill Gang were also among the very first rap acts to record a full-length LP.
Sugarhill Gang includes the original 7-inch version of "Rapper's Delight" as a bonus track. The album is available as a limited edition of 1000 individually numbered copies on clear & blue marbled coloured vinyl, housed in a gatefold sleeve.

On Hungry Animal, Luke Temple continues to trace the invisible lines between the personal and the cosmic _ between what we feel, what we observe, and what we inherit simply by being alive. The album reunites Temple with Doug Stuart (bass) and Kosta Galanopoulos (drums), the core of his Cascading Moms ensemble, whose instinctive chemistry anchors the record's balance of rhythmic precision and melodic drift. Together they shape a sound that feels handmade and fluid, delivering sharp observations in soft focus. The album opens with "Clean Living," a tenderly libidinous groove, unraveling purity myths and self-discipline _ less a confession than a celebration of the futility of striving for perfection in a flawed world. From there, "Echo Park Donut" shifts into the memory of an unsettling vignette drawn from a violent incident outside Temple's Los Angeles home. The band moves with a quiet pulse beneath the story, suggesting both detachment and the surreal intimacy of fear. The title track, "Hungry Animal," grounds the album's broader questions: how well can we really know one another, or ourselves? Temple's lyrics circle around the idea that we are animals among animals, driven by instinct and affection alike. It's both playful and philosophical, one of the record's emotional centers. Temple's bandmates bring an understated mastery to these pieces. Stuart's melodic, infectious grooves converse fluidly with Galanopoulos's drumming, which breathes life into each song even as it gently propels them forward. The trio's interplay feels both weightless and deeply rooted _ commanding the listener's attention and empathy without ever forcing it. With Hungry Animal, Luke Temple and the Cascading Moms create a world where reflection becomes rhythm and consciousness gains texture _ a record of quiet revelations and deliberate grace.

KIK is the new project of two core strategists of sonic enigma HHY & The Macumbas: Jonathan Uliel Saldanha & João Pais Filipe. Ditching acoustic instruments in favour of drum synthetics & tightly controlled sound design, the duo's debut album NIGHTSHIFT focuses on off-kilter club tracks that thwart 4-on-the-floor flavours whilst maintaining trance-inducing extended cycles. If the devil is in the details, this is all about the spectromophology of the details.
Beginning with moving morse code blips in an odd time signature We Can't Dance announces the characteristic unlife of the album's pulse. Once the kick enters, syncopations progressively accumulate into a weave of interacting rhythmic lines. Smoke Machine's groove is reminiscent of the riddims Saldanha explores in his HHY & The Kampala Unit, adding scintillating pads and snippets of blitzed out laughter.

The album's third track, Proff, hearkens back to the initial pulse, displaced and pitched down in register. Here's a more meditative temperament on display, where the regular geometries of the club have been moved into higher-order structures. Segments rise & fall into earshot. Deepening the meditative mood, Back Room explores a short melodic leitmotif anchoring the track's wander- lust.

The rhythmic assault continues in Tactical Gear, bringing further experiments into polyrhythmic contours exacerbated by preci- sion movements of echo & delay. Limping can be heard as a what-if sonic fiction taking Autechre-inspired abstractions through Durbanoid Gqom terrains. The album closes with its longest track, Night Shift, that segments into shifting sound worlds.

Drawing from industrial grit, cybernetic percussion and the eerie fluorescence of after-hours energy, NIGHTSHIFT exists in the liminal space between body music and abstraction——a soundtrack for phantom warehouses and malfunctioning machines. This isn’t just music; it’s an immersive sonic environment, a journey into the heart of deconstructed dancefloors.
For fans of Rian Treanor, Proc Fiskal, Jlin and Lorenzo Senni.

Most recently, HHY has been collaborating with Nyege Nyege through projects such as Kampala Unit and Arsenal Mikebe, performing live with the ensemble alongside Valentina Magaletti, and producing records for artists like Fulu Miziki, as well as collaborations with Phelimucasi, Rey Sapiens, Kingdom Choir and others. He also released Camouflage Vector: Edits From Live Actions 2017–2019 on the label, a live album featuring two tracks with Adrian Sherwood.

Previous collaborations include Tunnel Vision with Badawi (released on Tzadik), the HHY & The Macumbas album Beheaded Totem on House of Mythology, and Fujako (Wordsound, with MC Sensational), along with double-bill shows with acts such as Clipping and Death Grips.

Jackie Mittoo, organ and piano maestro, was also one of the founding members of Jamaica's top session band The Skatalites. Musical arranger for Studio One he provided the backbone to so many of Jamaica's finest tunes. The invention of Ska music and the sounds that rode through the Rocksteady and Reggae period all carry his stamp. Whether it be in his various incarnations, the aforementioned Skatalites, The Soul Brothers, Soul Vendors and the Sound Dimension or under his own name, his distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio One's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry (guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso, this band would back all the hits coming out of Studio One for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!.

1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In1967 the hits at Studio One were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the labels solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line up that included Leroy Sibbles (bass), Roland Alphonso and Cedric Brooks (saxophone), Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio One they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio One's output carried his sound.

Jackie Mittoo emigrated in the late 60's to Canada, but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio One's supremacy and needed his magic touch. Such Producers as Bunny Lee used Jackie Mittoo on many of his sessions, Sugar Minott among others were always glad of his services.

We have captured some fine 1970's cuts that feature Jackies numerous talents, showing his ability to embellish tracks with a feel that few could better, Musical arranger, band leader all round studio ace. We hope you enjoy the set and I'm sure you'll agree with us Jackie Mittoo does indeed Ride On.........

Explosive Ukrainian metalcore force SPACE OF VARIATIONS returns with Poisoned Art, out on February 13, 2026 via Napalm Records. Blending furious brutality with heartfelt emotion, the four-piece band sheds their skin and continues to push the boundaries of modern metal, their new record showing a new facet of their ever-evolving sound—a new era. Twice crowned Ukraine’s best metal band, and former tour partners of genre giants Jinjer, SPACE OF VARIATIONS are raising the bar for metalcore with the twelve new tracks of Poisoned Art. Mercilessly honest, the opening track “TRIBE” sees the band battle existential fears in both English and their native Ukrainian. Driving in the urgency are diverse stylings, ranging from djent in “HALO” to fitting sirens in “MAYDAY”, showing that SPACE OF VARIATIONS doesn’t shy away from adding a certain edge to their catchy choruses. “PARALLEL REALITIES” cleverly combines soft melodies with brutality, staging captivating desperation and neck-snapping breakdowns as parallel realities. Explosive outburst “DOPPELGÄNGER” powerfully blends groovy distorted guitars and unrelenting intensity, contrasted by haunting melodic passages and subtle electronic textures, making this song especially hard-hitting. The mix of pummeling ferocity with emotional depth continues throughout “GODLIKE” and “GHOST TOWN”, before “COLDHEAVEN” stands out from Poisoned Art through its exploration of hip hop elements and cold industrial grain. “BACK TO DIRT” continues the djent vibe, while “SNAKE SKIN” delves into electronic territory.

Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. "We've added another element to the writing and collaboration process," says the band. "April comes from a classic heavy metal background, and her influence is in these songs. We've also had experiences on tour that have helped shape these songs. You can hear influence from the bands we toured with and learned from. We played together for three years as we wrote this album, and we learned a lot about our styles, and our sound evolved naturally together on stage. So, when we sat down to write this album, it didn't feel like a departure or a change." Anchored by the witchy spell of opener "Where the Seas Fall Silent," the rock-hardened groove of "Kill Switch," and the dimly lit power pop of "The Family," HOAXED upped the tempo, sawed the edges (Dimmick's raspy menace intimidates), and strengthened their ties to the golden gods of heavy metal. Indeed, cyclical riffs, dynamic rhythms, and bottom-heavy bass propel Death Knocks through its filmic, hard-nosed gloom, but Keo's sorcerous vocal hooks seal the deal. Often smartly paired with Dimmick's angels' n' demons, her performance effuses fragility and potency across the album's alluring expanse. HOAXED recorded Death Knocks at Falcon Recording Studios with producer/engineer Gabe Johnston (Unto Others, Vintersea) and enlisted Arthur Rizk (Power Trip, Kreator, and more,) for mixing and mastering. In total, the group spent eight days in February and March tracking Death Knocks. While most bands spend months ironing their metallic mettle, Hoaxed's expeditious time at Falcon engendered a polished, big-sounding force befitting their larger-than-life songs. Short: Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. FFO: Ghost, Tribulation, Bloody Hammers, Khemmis, Unto Others, GGGOLDDD, Katatonia. Pallbearer

BBE Music’s acclaimed J Jazz Masterclass returns with its 20th release, a super rare private press from one of the more laudable female jazz figures of Japan, saxophonist and composer Sachi Hayasaka, together with her band, Stir Up! Released in 1988 on the private label Mobys, Free Fight was Hayasaka’s debut album and announced the arrival of an essential and primal force onto the Japanese jazz scene. Part free jazz, part post-bop, and part heavy groove, Free Fight is one of the most varied yet engaging albums BBE Music has reissued in the J Jazz Masterclass Series, showcasing Hayasaka’s inventive and muscular playing as well as her highly original and surprising compositional powers. Given the album’s eclectic yet cohesive sound, it’s no surprise that it originally found a home at Mobys, the label established by esteemed jazz critic and promoter Teruto Soejima. Mobys only issued a handful of albums from some of the leading free and open players including J Jazz Masterclass alumnus, pianist Aki Takase, as well as free jazz guitar icon Masayuki Takayanagi, and free jazz figureheads Itaru Oki and the great Masahiko Satoh. Born in Tokyo in 1960, Hayasaka took lessons from saxophonist and recording artist Toki Hidefumi and fully immersed herself in the jazz life, working part-time at various jazz kissas including Peter-Cat, a kissa managed by novelist Haruki Murakami. She has performed regularly across Japan at venues like the famous Pit Inn and formed a strong alliance with the classic Tokyo jazz kissa Paper Moon, which continues to this day. Heavily influenced by players such as Roland Kirk, David Murray and Ornette Coleman, Hayasaka has played with free jazz legend Yosuke Yamashita and performed around the world (as well as up Mount Fuji!). In the late 1980s she moved to New York for several years and worked with notable musicians including drummer Pheeroan akLaff and pianist Cliff Korman. She has recorded a number of albums to her name for Japanese jazz labels such as Three Blind Mice and Kitty as well as leading European imprints such as Enja.

Wewantsounds is delighted to announce the reissue of Music By Lee Mason, the cult classic from the Chappell Recorded Music Library, originally released in the UK in 1971. Credited to Lee Mason & His Orchestra, the album is in fact the work of renowned British composer and arranger Pete Moore - best known for producing the iconic "Asteroid" theme in 1968 for the Pearl & Dean cinema advertising company. One of the funkiest library albums of its era, blending cinematic tension, funky grooves, and jazzy undertones, Music By Lee Mason features the track "Shady Blues," famously sampled by Madlib. Newly remastered and featuring liner notes by Kevin Le Gendre, this long-overdue reissue brings a lost classic back to vinyl for the first time since 1971.

With her highly anticipated CiCi (Deluxe) album, Grammy Award-winning icon Ciara steps fully into her power; reclaiming her narrative with clarity, confidence, and the most dynamic soundscape of her career. A celebration of freedom, femininity, and evolution, CiCi is more than a return — it’s a full-on reinvention.

The Deluxe Edition expands her sonic universe even further — introducing four new songs that fuse sensuality, rhythm, and empowerment with global influences—featuring standout singles like the globally acclaimed “Low” (with Diamond Platnumz), “Ecstasy” (featuring Normani & Teyana Taylor), “How We Roll” (with Chris Brown), amongst other hits, the project seamlessly blends Ciara’s R&B and pop legacy with futuristic production, cross-continental energy, and unfiltered storytelling. Among them, “Low” stands as a defining moment — an electrifying fusion of Afrobeats and R&B that bridges Atlanta and East Africa in one hypnotic groove. The visual, rich with dance-floor heat and unapologetic sensuality, showcases Ciara’s signature choreography and global reach, earning millions of views and sparking an international dance challenge.

For over two decades, Ciara has defined what it means to be a cultural force — from trendsetting choreography to genre-shaping hits. With CiCi (Deluxe), she bridges generations, reignites her core, and welcomes a new wave of fans into her world. It’s bold. It’s intimate. It’s CiCi. Behind the scenes, CiCi also marks a powerful chapter in Ciara’s entrepreneurial journey. Through her self-founded, female-led Beauty Marks Entertainment, Ciara has created a home for her music, media, film, fashion, tech, and philanthropic ventures. BME empowers her to own her narrative, lead with vision, and build legacy — on her terms.

Jaco Pastorius was widely acknowledged for his skills as an electric bass player. This self-titled album was Pastorius' solo debut and was originally released in 1976. Featuring H. Hancock, W. Shorter, Sam & Dave, D. Sanborn & M. Brecker a.o.

wHIMSY finds DESTIN CONRAD at his most free, playful, and musically adventurous yet. Blending smooth R&B with touches of jazz, neo-soul, and laid-back groove, the project feels like a late-night jam session with friends—loose, soulful, and full of feeling. Across the tracklist, Destin lets his voice glide effortlessly over warm production, exploring themes of love, curiosity, and self-discovery with a wink of humor and a lot of heart. Following the success of LOVE ON DIGITAL, wHIMSY shows Destin leaning deeper into his artistry, embracing imperfections, and finding beauty in the in-between moments. It’s intimate, imaginative, and unmistakably him. 1xLP, black vinyl, housed in a gatefold jacket and cut at 45 RPM.

From the opening notes – arriving as if in mid-air – to its final, cheerful burblings, Sean Mac Erlaine and Caoimhín Ó Raghallaigh’s Old Segotia is an album about friendship: both musical and human, the product of two distinctive musicians visiting each other’s worlds with a sense of veneration, and a sense of joyful wonder.
Here, Mac Erlaine (This is How We Fly, Quiet Music Ensemble) and Ó Raghallaigh (The Gloaming, This is How We Fly) meet on common ground developed over 20 years of playing together, with Mac Erlaine’s musical language rooted in jazz and sonic experimentation, and Ó Raghallaigh emerging from an Irish traditional music that he has shaped and reshaped in a deeply personal way.
In this place, Mac Erlaine and Ó Raghallaigh’s music is profoundly integrated and emotionally textured: at times bursting with explosive energy, at times almost sighing into life, but always searching. Here are the touching unison duets of ‘Cantandor’, the lyrical wanderings of ‘Swallow Dive’, or the flirtations with finding a groove in ‘Reverse Burst’.
The palette of instruments speaks to the album’s feeling of abundance, with Mac Erlaine performing on clarinets, chalumeau d’amore, three different flutes, car hooter, percussion, live electronics, Wurlitzer, synthesiser, vocals and alto saxophone; and with Ó Raghallaigh bringing his signature hardanger d’amore sound plus a turn on the flute and live electronics, too.
With the title echoing a well-worn Dublinese expression for “friend”, Old Segotia plays out with ‘Oiche Crua Sna Sleibhte’ (A Hard Night in the Mountains), with ornithologist Seán Ronayne’s field recordings of birdsong rising out of the musicians’ playful explorations, offering a taste of life echoing music, echoing life.

Kanyon (John) is a NYC based producer/dj who has cut his teeth in the underground US techno scene through raw live sets, and dynamic djing. Keeping the quality high with his signature no-bs style of production and performing, he has played live supporting legends like Steve Poindexter, DJ Hyperactive, and Francois K. His productions have garnered support from Ben Sims, Akua, Ron Like Hell, Kush Jones and many others.

The Duplex EP is a split record featuring John's house alias DJ John Brooklyn on the A side (A1, A2, locked groove) & techno alias Kanyon on the B side (B1, B2). Exploring NY house and trippy, dubby minimal techno respectively, Duplex EP is a heady start to 2026.

Nick Curly and Marc Scholl present the next chapter on Cécille Records - a collaboration where Reboot meets a new generation of Italian talent, Shokë.

Frankfurt-based Reboot, a key member of the Cécille family, joins forces with the young and rising Naples-based duo Shokë for their debut on Cécille Records. Naples and Italy as a whole, has been home to a strong and loyal Cécille fanbase for decades, making this collaboration a natural next step.

The connection was sparked through shared ties within the Italian scene, with Blackchild playing a key role in bringing the artists together and connecting Shokë and Reboot early on. From the very first studio sessions, a strong and organic synergy emerged …one that is clearly reflected in the music.

The result is a collection of powerful, timeless house tracks with depth, groove, and character, blending experience with fresh energy while carrying the unmistakable spirit of Cécille Records.

Mit „Move On Baby“ landeten Cappella 1994 einen der prägendsten Eurodance- und House-Hits der 90er. Markante Piano-Riffs, treibende Beats und ein unverkennbarer VocalHook machten den Track zu einem weltweiten Club- und Chart-Erfolg.

Der Klassiker ist endlich wieder als farbige Maxi-Vinyl erhältlich. Neben den Originalversionen bietet dasRelease zwei hochkarätige Remixe: Mike Candys liefert ein energiegeladenes, modernes Club-Update, während Armand
van Helden dem Track mit seinem typischen Groove und House-Feeling einen zeitlosen, internationalen Floor-Charakter verleiht.

Ein Pflicht-Release für 90s-Fans, House-Liebhaber und Dancefloor-Enthusiasten

Lovski, alias Igor Sekulović, is redefining the Balkan musical landscape. A master guitarist and erstwhile “Projekt Rakjia” band member, he forges an uncanny blend of traditional folk melodies with dance, electronic and rock energy.
His debut solo album, Discoteka Jugoslavija—produced in collaboration with Napoli’s producer Raffaele “Whodamanny” Arcella—ventures through Italo-disco pulses, reggae grooves and psychedelic swirls, all anchored by the call-and-response warmth of Balkan traditional instruments. Each track feels like a borderless road trip: hypnotic rhythm sections give way to soaring guitar solos that nod to ancestral folk tunes, while propulsive synth arpeggios push listeners into tomorrow’s club.
Lovski’s signature lies in his seamless genre alchemy. He honors regional roots without succumbing to nostalgia, instead reframing folk elements as raw material for global dancefloors. As a performer, his live shows pulse with communal ecstasy—drawing dancing crowds around campfires of light, smoke and bass.
In a scene ripe for innovation, Lovski stands out as both torchbearer and trailblazer—proof that the Balkans still have surprises to offer, and that the old and new can coexist in brilliant harmony.

Vancouver-based instrumentalist Kutcorners pays a fine tribute to the legendary jazz-funk king Bob James at the same time as showcasing his fine edit skills on this fresh 7" for The Freshest Recordings. Opener 'Full Circle' swirls with immediately recognisable melodies from James that have been used in all sorts of records over the years. They're carried by a mid-tempo house groove for a breezy late-night sound. On the B-side is a 119bpm funky and broken beat house number, 'DiscoPlanetBob', with more familiar references and playful drums that will get any floor vibing.

The one and only Scruscru calls on his most trusted friend for his latest in the Local Sugar Diggers series which is a treasure trove of re-edits & reworks of old and rare records. Love is in the air on the opener 'Os Sons Do Rio' which has swooning, sentimental strings and MPB vocals that remind of all the greats. The instrumentals are rich, the melodies florid, the sound truly elegant and intoxicating and sure to transport you to a party by the beach somewhere in Brazil. 'Sozinha Mulher' is a little more laidback and lazy in its slowly unfurling groove with clear, cloudless blue skies up above and subtle horns and vocal coos all encouraging you to move.