Cerca:groo

Changing Channels ist das neue, zweiteilige Album des britischen DJ/Produzenten Pangaea (aka Kevin McAuley), sein erstes seit der gefeierten Debüt-LP In Drum Play (2016). Die Tracks sind galoppierend, ansteckend und hypnotisch und fangen Pangaeas Fähigkeit ein, Banger mit einer experimentellen Neigung zu konstruieren, ohne auf Wirkung zu verzichten. Ihr Fokus auf den Dancefloor ist dringend, nachdrücklich und von einer unbestreitbaren Präzision. Die beeindruckenden, unaufhaltsamen Grooves glänzen wie Marmor auf Beton: glatt und doch rau, attraktiv und doch aggressiv. Wie ein Zwielicht mitten in der Nacht, mit mysteriösen Elementen, die sich nicht als Bedrohung anfühlen, versprüht die Musik eine Wärme, die die Dunkelheit durchdringt.

With four pacey club tracks, Luise makes a strong debut on I'm in Love Records. The EP takes you on an irresistible journey: On the A-side, brace yourself for timeless, dreamy house cuts, full of groove and warm synths. On the flip, watch out for "Inspiration" - a super-danceable, funky jam with appealing vocals. Bottom line: Stunning production, which we are very happy to welcome to the label!

„The 90’s are back!“ – 30 Jahre später ist das beliebte Jahrzehnt musikalisch wieder voll im Trend! Auf der „FETENHITS - The Real 90’s“ sind die Originale der größten Party-Hymnen der Dekade vereint.

Ob die groovigen Sounds von „No Diggity“, der absolute Ohrwurm „Wannabe“ oder die Kult-Nummer „Mambo No. 5“ - Der bunte Mix der besten Party-Songs und Klassiker der 90‘s ist voller „Good Vibrations“!

Mit dabei sind u.a. U2, Britney Spears, Salt-N-Pepa, 20 Fingers & Gillette, Freddie Mercury, La Bouche, DJ Bobo, TLC, Backstreet Boys und viele mehr.

„We Bring It All Back“ mit den größten Party-Hits der 90er! Erhältlich als 4LP, 4CD und eAlbum ab dem 29. September 2023!

On October 20, 2023, Anetha will release her third tempetuous compilation on her label Mama told ya entitled MTY-AIR «Mille attaques, les vents contrèrent», just one year after MTY-TERRE «Contre tout, toutes et tous, la terre demeure» and two years after MTY-EAU «L’eau repousse les feux agressifs».

Through air element, the compilation comes up with the collaboration of 22 artists with 20 tracks, divided into 4 vinyls: Once again, Anetha carried away with her a generation of electronic artists from around the world to simply blow our mind.

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ON AIR: After twelve successful releases on Mama told ya, Anetha paraglides in our skies with the stormful MTY-AIR, a volatile new compilation: 4 swirling vinyls, 20 aerodynamics tracks, 1 wind blowing perfume.

Entitled «Mille attaques, les vents contrèrent», it will be the third of a series around the four elements. Capricious yet vigorous, air sweeps out everything on its way. Nothing can save you when you’re in the eye of the cyclone: prepare to fly hard. Alongside our windbreaker artists, skydive into the celestial vastness of sound: Gusts of disturbed techno, squalls of groove, mental tornado, minimal bass hurricane, cloudburst of psytrance… Time to get some fresh air.

Piercing pampero, mad mistral, forceful cierzo are blowing, blazing khamsin, steady sirocco, sharp shamal, dank nor’wester are entwining… Techno winds from all around the world are joining the fight against humanity. This is « Endgame » (B2). Final chapter, twisters and typhoons are cleansing the surface of earth, overthrowing everything on their path. Poor soul, don’t try to confront air’s blast as it will « Facelift » (D2) the shit out of you in less than a second. Take shelter as air is untouchable, unpredictable, unstoppable. Or if you’re brave enough, you’ll jump into the sky, looking for the currents to carry you up, sailing whirlwinds, riding airwaves, on the road to the « Temples of Quantum » (H2). Now jump!

The artwork has been once again entrusted to visual artist Karin Kimel, who worked on MTY-EAU’s artwork. She delivers an aerial scenery where supernal wafts are swirling, embalming our air. Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep. And for the second time, with a direct message from earth to Earth, we opted for recycled vinyls.

Introducing the eagerly awaited second instalment of Fabio's meticulously curated collection of liquid Drum & Bass classics - 'Generation Liquid.'

Fabio, a true legend in the music industry for over three decades, kickstarted his illustrious career as a Pirate Radio DJ in the mid-80s. Throughout the years, he masterfully evolved his style across various musical genres, ranging from Dub and Hip Hop to House, until he ultimately solidified his position as one of the pioneering forces behind Jungle and Drum and Bass. Fate played a remarkable role in Fabio's extraordinary musical journey. Serendipitously, he landed a pivotal spot on the pirate radio station Phase One, all thanks to a connection through a close friend. This opportunity allowed Fabio to showcase his raw talent and hone his early skills. As destiny continued to guide him, Fabio formed a powerful partnership with Grooverider, and together, they soared to fame, headlining numerous major outdoor raves and orbital M25 parties during the late '80s acid house boom. The duo's magnetic presence and innovative sound captivated audiences, setting them apart as trailblazers in the electronic music scene.

As club culture blossomed, Fabio and Grooverider became the distinguished residents at the iconic club night RAGE, hosted at Heaven in the heart of London. Their influence was immense, as they were credited with moulding the early Jungle sound and orchestrating the world's first-ever weekly Jungle night. Fabio's unwavering passion and dedication to music have not only left an indelible mark on the industry but have also inspired countless aspiring artists. His boundless creativity and willingness to push the boundaries continue to shape the ever-evolving landscape of electronic music, solidifying his status as a true pioneer and a living legend.

After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skilful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.

The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.

Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.

The second volume of this immersive exploration into the soulful realm of Drum & Bass is just as indispensable as its predecessor. It boasts a curated collection of rarities, timeless classics, and straight-up anthems from the vibrant liquid D&B scene. Esteemed artists such as DJ Marky, Calibre, Calyx & TeeBee, and dBridge all contribute to what is undeniably becoming a seminal anthology of the subgenre. The track selection and seamless programming are expertly guided by none other than Fabio himself, providing listeners with a nostalgic glimpse into the electrifying atmosphere of being right on the dance-floor at iconic events Speed and Swerve.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago.

Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles.

On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato.

Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!

Changing Channels ist das neue, zweiteilige Album des britischen DJ/Produzenten Pangaea (aka Kevin McAuley), sein erstes seit der gefeierten Debüt-LP In Drum Play (2016). Die Tracks sind galoppierend, ansteckend und hypnotisch und fangen Pangaeas Fähigkeit ein, Banger mit einer experimentellen Neigung zu konstruieren, ohne auf Wirkung zu verzichten. Ihr Fokus auf den Dancefloor ist dringend, nachdrücklich und von einer unbestreitbaren Präzision. Die beeindruckenden, unaufhaltsamen Grooves glänzen wie Marmor auf Beton: glatt und doch rau, attraktiv und doch aggressiv. Wie ein Zwielicht mitten in der Nacht, mit mysteriösen Elementen, die sich nicht als Bedrohung anfühlen, versprüht die Musik eine Wärme, die die Dunkelheit durchdringt.

Kraut synth funk explosion from the sci-fi, library & soundtrack specialists.

DIY funksters break into museum, steal modular moog and record proto-electro-punk with dusty live drums, wild percussion and out-of-control analog synth sequencing onto Tascam 8-track tape.

Following their debut 'Space Voyage' for Warner Chappell's music library and the outernational soundtrack LP 'Occhio Occhio', the U.K. based trio return with a darker, heavier edge on their new full-length 'Synchronization'.

The soundtrack to a strange and mysterious dystopian future Immersed in the sounds of arpeggiated vintage synths, full fat drum breaks and fuzz guitars. At times the album is reminiscent of post punk with hints of boom bap hip hop and as the album progresses the listener is transported to the dance floors of Berlin's underground raves. In an age that sees AI increasingly omnipresent, Eleven76 take control of the technology, creating a hybrid, genre spanning, production style that could only come from their hive mind.

The trio surrounded themselves with an enviable array of vintage synths and modern classic studio toys, with Paul Elliott and Anthony Donje at the helm of patching, connecting and bringing these analog beasts to life, while Timmy Rickard continued to lay down the grooves as the heart of the rhythm section. The result is SYNCHRONIZATION, of synth and drums, pictures and sounds, man and machine – and of your heart and brain if you're ready to get synchronized.

Jdotbalance left the moon and the sky for a city that works. This is their first offering for the ESP Institute. On side A, 'Sublimate' combines two aspects of a digital pipe and mallet assortment—both as the percussive base for a groove, and as an interstitial layer where inherent resonances are massaged into melody. Bubbles and squeaks dance around the sound-stage periphery, occasionally pierced by high frequency statements, presenting as either ghostly yelps from the aether or as bursts of kaleidoscopic shards. A third of the way through the track, the instrumentation truly does sublimate, crystallizing into a new self—bolder and naughtier, abandoning its pensive optimism for a detour around the spectrum's dark end. On the flip, 'Precipitate' continues with its predecessor's primer of metallic percussion, but accelerates the pace to reveal Jdot’s attitude leaning toward cunty malice. The kick drum relentlessly pounds us as 16th note droplets metamorphose from chrome-dipped hail into full-blown acid wind. As intensity retreats beneath the digital rubble and the track draws to a close, so does our stream of Jdot’s consciousness. These two songs will accelerate your nervous system.

Leonard Grandsons 'The Sands Of Zanzibar' ist ein klassischer, sehr seltener Floater, der schwer fassbar geblieben ist, obwohl sein Sound ihn zu einer äußerst beliebten Variante für Soulies, Disco- & Rare-Groove-Fans machen kann. Der Verleger Steve Trebbin geht davon aus, dass der Tune 1977 in einem Studio in Hollywood nahe des Capitol Records-Gebäudes aufgenommen wurde.

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

File under : Dub / Reggea / Electro. Chinese Man records celebrate its 10 years anniversary and release a new volume of the Groove sessions. Featuring Tumi, La Yegros, Johnny Osbourne, Lush One among others... Video 1st Single: Once Upton the Time feat Tumi:

After an incredible journey spanning 8 years and 40 releases, Marked is proud to unveil a monumental milestone - their first EP released on the timeless medium of vinyl. There is no better way to do this than with upcoming superstar Amazingblaze. His Stargaze EP is a journey of pure power and brightness -a dopamine rush- waiting to find its place of honor within your cherished wooden vinyl cabinet.

Starting with Treasures, this is one of those musical gems that keeps on overflowing with life with an almost mystical quality. A sound and melody that have emotions run deep, while the heart of the track keeps your pulse racing at its beats per minute.

The answer to a surefire way to light up the dancefloor is Quantumness. The lead synth and perc rhythm make a deadly and irresistible groove. Its notes soar and dive, creating a rhythmic anchor that holds everything together.

In Geerson's remix of Quantumness, most of the original's iconic lead synth is kept intact. In this version, the kicks fire in rhythmic drum salvos. The sonic landscape traverses peaks and valleys, sending you to both extremes in orbit.

Powerhouse Tham brings in the Club Kid remix of Pittsburgh by sending new life into one of the layers of the lead synth. Tham's signature sound is applied to turn it into a full-fledged hammer track: the sound is ruthless, the groove contagious.

Classic Soul album! If this 1972 record for the Paula Records was the sum total of Dallas, Texas soul man, Bobby Patterson’s career, then he would still be a cult figure among R&B fans.

This is a stone soul masterpiece, full of grit and groove with a breathtaking stylistic breadth from funky soul to romantic soul balladry.

Re-issued for the first time on virgin black vinyl

Every soul-searcher needs this one.

Taken from 'Escandalo' by Perez Prado & Don Alfio,'Circle' was written by Mario Rusca and performed by
some amazing musicians such as Tullio De Piscopo, Hugo
Heredia and Pino Presti.
Perez Prado is Pantaleon Perez Prado, the younger
brother of the 'King of Mambo' who came to Europe in the
50s and recorded several albums with Unifunk.
'Circle' is a strong track with a killer groove and it's not
hard to imagine it as the perfect score for a car chase.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his
first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Kaninchenbau's main collaborators Sokur and The Funk District helm this latest intergalactic journey in the form of 'All Over You'. It's a superbly tasteful and deep disco joint with lush synth work and the sort of groovy drums that make every head to the floor and get down. Next to the original is a classic 'House Mix' version and then comes two epic remixes on the flip. Both are from accomplished and ever busy Razor-N-Tape producers Nenor and DJ Vas who bring a real touch of classic to their work and offer a different look than the A-side.

New Digital Fidelity has been making sweet moves recently with a debut on the lauded Moods & Grovers label out of Detroit followed up by a single on his own Scopic Records. Now he brings his class to Beachside and again shows off his love of Detroit house vibes. Opener 'Crush On The Beachside' is raw and intense with humid chords and jacked-up drums, then 'Shattered' brings more loose and jumbled beatdown grooves and 'Crush On The Beachside' (K15 remix) is then bubbly, jazzy and cuddly. 'Cracking' rounds out with more rich chord work and bristling drum funk.

Michael Gray returns with a pulsating journey fuelled by irresistible beats, captivatingly catchy looped synths, and mesmerisingly sliced-up vocals that seamlessly blend with the main vocal. As the bass line drops, an ethereal soundscape of dreamy pads envelops you, transporting you to a realm where smooth modern dance floor grooves converge with a nostalgic nod to the glorious 80s.

With his expert craftsmanship, Michael Gray weaves together a tapestry of sonic delight that will leave you spellbound. Get ready to surrender to the infectious rhythms and timeless charm of his immaculate musical creation!

Mit ihrem fünften Album "Calling the Dogs" setzen Citizen ihre Bemühungen fort, melancholische, energiegeladene Rockmusik zu machen, die sich nicht auf einen einzigen Sound festlegen lässt, sondern eine Vielzahl von Einflüssen einbezieht. Produziert von Rob Schnapf (Saves the Day, Joyce Manor, Elliott Smith) ist "Calling the Dogs" ein Album, das mit dem Blick nach innen beginnt und mit dem Blick nach außen schließt. Es ist ein Album, das sich mit den Menschen beschäftigt, die wir durch die Menschen um uns herum werden. Es läutet nicht nur personell eine neue Ära der Band ein, sondern atmet auch thematisch neue Luft. Es ist ein Album der Selbstreflexion, aber auch eines, das die Wut auf direktere Weise als je zuvor zum Ausdruck bringt. Mit Einflüssen von Künstlern wie den Ramones, Violent Femmes und Bloc Party fühlt sich "Calling the Dogs" wie ein neues Kapitel für Citizen an. Songs wie der Opener "Headtrip" und die Leadsingle "If You're Lonely" wirken wie typische Citizen-Songs, die von Produzent Rob Schnapf mit einer neuen Energie versehen wurden. Wie schon bei ihrem 2021er Album "Life In Your Glass World" ist bei Songs wie "Hyper Trophy" und dem groovigen "Can't Take It Slow" ein deutlicher Einfluss des NYC-Garage-Rock-Revivals zu erkennen. Aber Citizen lässt auf "Calling the Dogs" nie eine einzige Stimmung zu lange bestehen - auf der Platte gibt es Momente der Pop-Seligkeit, der Punk-Aggression und der üblichen Citizen-Melancholie. Auf der Grundlage ihrer persönlichen Erfahrungen und ihres kollektiven musikalischen Könnens haben Citizen ein Album geschaffen, das Grenzen überschreitet und den Hörer herausfordert, seine eigenen emotionalen Landschaften zu erkunden. Für Fans von Turnstile, Fiddlehead, Angel Du$t, Militarie Gun, Drug Church, Narrow Head.

The Mapendo album of the Mighty Cavaliers, up to today, has been shrouded in mystery. If you look at the original cover of this very rare Kenyan funk-infused album all you will find are the names of the engineer and the producer, as EMI Kenya omitted the names of the musicians and the songwriters. Digging deeper a rather sinister story of deceit develops whereby Mapendo becomes symbolic for all what was wrong about the Kenyan record industry in the 1970s, and the music industry in Africa as a whole. As this maltreatment of artists proved endemic throughout the continent, although little talked about.

One of the three surviving members of the Mighty Cavaliers, bass player Bonnie Wanda - who started his career in 1971 with Gloria Africana - vividly remembers participating in the recording of the two albums the band made in 1976 and 1977 - Fisherman and Mapendo - and how they, especially on the last album, got short-changed by shrewd record label executives. In the 1960s it was mostly Indian and European record bosses that called the shots and usually gave musicians the chance of a one-off payment for their session time and recorded songs or wait for - hopefully - a generous royalty check. In most cases records didn't sell more than a thousand copies with an occasional hit selling in the tens of thousands, so musicians were reluctant to register themselves with the Music Copyright Society of Kenya. Although without doing so one couldn't receive royalties.

'For two years the Mighty Cavaliers performed five nights a week at the Starlight Club for five hour sets.

The re-release of Mapendo, the first of the German Want Some Records label, is another exciting puzzle piece in the tapestry of groovy Kenyan music. It proves that there are still great gems out there to be re-discovered for audiences worldwide.

Text written by Michiel van Oosterhout

This Album is dedicated to the musicians
Bonnie Wanda, Rashid Salim, Vuli Yeni, Juma Waweru Njuguna and Athmani 'guitar boy'."

After a string of successful releases, Lenske regular AIROD is back on the label with a striking new single and subsequent EP.

A certified dance floor pleaser both in and out of the studio, AIROD's distinct sound has kept him at the forefront of cutting-edge underground techno as it continues to evolve rapidly. Circling back for another release on Lenske, his latest work is another bold statement of intent, staking his claim as one of the genre's most exciting talents.

Released first, on the 4th August is standalone single 'Meet Me In The Club', it teases with a wave of high-octane club-focused goodness. Building around a catchy vocal hook - the track comes in hot with racy grooves and riveting musicality. A core of thumping drums, fizzing hat sequences and erratic melodies flood the mix, twisted and pulled around with clever modulation and use of FX to carve out an energetic dance floor journey with hints of euphoric nostalgia throughout.

The title cut 'Golden Pills' emulates a progressively intensifying sprint. Ethereal melodies and unwavering drums create an ever-increasing sense of urgency, dissected by ominous vox chops, atmospheric breaks, and a sea of instrumental flare from start to finish.

'I Just Wanna Rave' has 'warehouse track' written all over it. Furious drum work and minimal accompanying percussion set the base of the track, paving the way for an onslaught of shuddering synth layers and electrifying bass tones that keep you stomping until the last beat.

'At All Costs' cuts a sinister line from the outset. Its striking selection of infernal musical layers make the perfect match for a potent beat structure and catchy vocals, leading into a continuum of peaks and troughs, steered by crescendoing snare rolls and huge throwdowns with gripping melodic progressions either side.

After a longer break, Marko Nastic is back with a new Easy Tiger release that was surely worth the wait! This time, Marko is bringing us three banging tracks that are inspired by the comeback of the 90s club sound with a cosmic touch to it. The opening track, "How to Create the Vibe Around", is an old-school roller with a punchy drum and a heavy bassline. Dreamy and trance-inspired synths will push you to the dance floor, and the acid sound will make you move. While you're vibing, the vocal is sure to hit the spot and complete this journey. "An Ode to the Executioner" is the beast of this EP. Starting with crazy modulations, it creates an euphoric energy that is fulfilled with a fat bassline and a straight-on techno beat. Uplifting acid and trance vocals keep us in a rapture state of mind.Last but not least, "Cables And Rain" continues the party with an old-school drum loop and a groovy bassline that reminds us of Marko's recognizable older production. Coloring this banger is a refreshing flute melody and a repetitive vocal. And of course, the wrapper of the track, once again, is the acid sound that is sure to lock you in place.

Die schwedische Band Samling wird im Herbst 2023 ihr viertes Album mit dem Titel "Autisten" auf dem Berliner Label Robotor Records der deutschen Rockband Kadavar veröffentlichen. Das Album verspricht eine Fülle abwechslungsreicher Tracks voller Melodien und Hooklines.
Samling ist die Idee des Singer-Songwriters Max Groundstroem, dessen Mix aus Pop, Rock und schwedischer Neo-Psychedelia ihnen einen Platz in der skandinavischen Musikszene eingebracht hat. Die Musik ist für ihre großartigen Hooklines, Melodien und Grooves bekannt und nutzt oft Humor, um Gefühle der Isolation und Entfremdung lyrisch auszudrücken.
Das neue Album "Autisten" wurde über einen Zeitraum von fünf Jahren produziert, was einen starken Einfluss auf den Gesamtklang und das Feeling der Platte hatte. Mit der Zeit kommen auch Veränderungen und neue Erfahrungen, die verwirrend sein können, wenn das Ziel ein klanglich und textlich konsistentes Album ist. Doch durch die Erkenntnis, dass die Songs ihre eigene Persönlichkeit haben werden, entstand ein Gefühl der Befreiung, das es Max ermöglichte, ein breiteres Spektrum an Songs und Genres kreativ zu erkunden.

- Ltd. Col. LP: (Colour In Colour Blue Transparent Vinyl)

Endlich ist es soweit, Torstens lang ersehntes 7. Studio Album “Soul Searching” wird bei Membran Records erscheinen. Nach 8 Jahren Pause, persönlichen Krisen und schweren Zeiten, danach viel Songwriting und Reflektion, wird dies ein sehr persönlicher Tonträger, wie Torsten findet.

Orions Belte has been a steady supplier of groovy, catchy and dreamy instrumental pop since their 2018 debut album Mint. Women is their third studio album, but that doesn’t tell the whole truth when you also count their two live albums with accompanying films, three EP’s and a huge project where each of the members released their own solo album under the Orions Belte moniker. The three musicians rarely sit still, and the inspiration seems to be endless. This is probably also why their music is in such high demand. As usual, all the songwriting and production is done by the band members themselves, and this time they have put a lot of effort into making everything bigger and more powerful than on the previous records. The string arrangements flow easily throughout the record. It almost feels like releasing a million balloons all at once while lying looking at the night sky and dreaming of road trips on bumpy country roads through the Amazon in Brazil. There is always a great span to the Norwegian trio's songs, and on Women we are served noisy guitar riffs on "Silhouettes", cinematic string arrangements on "I Will Always Miss You", irresistible and catchy summer vibes on "Jai Alai", while Louien (Live Solberg) contributes beautiful vocals on the almost mournful "When You're Gone, I'll Be Gone". Matias Tellez is – as expected of an Orions Belte release – involved in the mix, while Ola Kvernberg and Øyvind Torvund have written string arrangements.

"""Down to Earth"" is an album by jazz organist Freddie Roach, released in 1962. This recording offers an irresistible fusion of soul jazz and blues, highlighting Roach's mesmerizing organ sound. With
infectious grooves and captivating solos, the album captivates listeners with its earthy energy and warm atmosphere.

""Down to Earth"" is a must-have for jazz enthusiasts and lovers of organic sounds. 180GRAM VINYL - LIMITED EDITION 1,000 UNITS - ONE TIME PRESSING."

Wewantsounds is delighted to reissue 'Khalik Hena' recorded 1973 by legendary Arabic Diva Warda who has been sampled by J Dilla. The album recorded in public mixes traditional Arabic music with a tinge of 70s grooves. Here Warda delivers a hypnotic performance backed by her full-size orchestra featuring those unparalleled Arabic strings that made recordings by Oum Khalthoum, Farid El Atrache and Abdel Halim Hafez so famous. 'Khalik Hena' is one of her all-time classics, written by equally legendary composer Baligh Hamdi and the audio has been newly remastered. This release features the LP original artwork with a 2 page insert featuring a new introduction by Mario Choueiry from Institut du Monde Arabe who curates Wewantsounds' Arabic series of reissues.

"Bob Shad's Master Sound" Okayplayer

"A Legendary Producer" Mojo UK

"Visionary" Liberation FR


WEWANTSOUNDS are back with a superb selection of Spiritual Jazz and Funk grooves from legendary Producer BOB SHAD's Mainstream Records catalogue.

Repress on a new colour - Red/clear half-and-half vinyl with black splatter. Kingston-upon-Hull’s The Black Delta Movement return with their stunning new album ‘Recovery Effects’ – 8 tracks of immersive, groove-heavy garage rock released April 21st 2023 on Fuzz Club Records. Determination and a commitment to musical development are writ large across Matt Burr’s personal and artistic journey as the main creative force behind The Black Delta Movement. His most collaborative work yet, ‘Recovery Effects’ sees Matt recruiting highly lauded UK guitar-slinger and Little Barrie frontman Barrie Cadogan and bandmates Lewis Wharton (Bass) and Tony Coote (Drums) to provide musical backing on the album. With legendary producer, The Heliocentrics’ co-founder and drummer extraordinaire Malcolm Catto also helming production duties. “The album’s a love letter to the band and all the emotions that come with it,” explains Matt when talking about the period of adversity that led to its creation. Finding himself without his former bandmates following the release of their highly-praised 2018 debut ‘Preservation’ and that record’s subsequent live shows, the pandemic-induced lockdown periods throughout ’20 and ’21 initially gave time for reflection before proving to be a time of productivity. Giving Matt the breathing space to fine-tune the new songs alongside Cadogan before hitting the ground running when entering the studio in late 2021 – the band cutting the basic tracks live and Malcolm Catto providing invaluable input when it came to moulding the music you hear contained throughout. The results of this creative melting pot of such talented and seasoned musicians see The Black Delta Movement delivering that ring thing: a layered, honest and deeply entertaining rock’n’roll record. There are a myriad of moods and textures, whether on the garage-blues grooves of opener and first single ‘Fourth Pass Over The Graveyard’, follow-up single ‘Zip-Tie’ which explodes from its moody intro into punk-rock motorik, or the psychedelic slow-burn of ‘Hiding In The Tall Grass’ which manages to channel the likes of The Doors and Spacemen

Eric Krasno is a two-time GRAMMY winning guitarist, musician and producer best known for his work with Soulive, Lettuce, Tedeschi Trucks Band & Pretty Lights. Krasno has been nominated for a GRAMMY a total of seven times for Best Blues Album, Best Contemporary Blues, Best R&B, and Best Electronic Album.

Otis McDonald is a producer/multi-instrumentalist best known for his copyright free music released exclusively through the YouTube audio library, amassing over 5 million downloads and over 25 million streams.

Mike Chiavaro is a Brooklyn based electric and upright bass player with an impressive history.

Combined they form King Canyon, blending their unique styles into an infectious groove filled project with healthy doses of R&B/Soul and funk. The vibe will resonate with fans of Khruangbin, Bobby Caldwell, Allman Brothers, Soulive, Lettuce, El Michels Affair, Unknown Mortal Orchestra, Menahan Street Band, Durand Jones and the Indications, and Son Little (who's featured on one of the tracks).

In the perfect quarantine story the trio forged a relationship and has yet to meet in person. In April of 2020 in the midst of quarantine, Eric Krasno came across Otis McDonald’s music on Instagram and immediately became a fan. Months later, McDonald who had been working on music with his longtime friend, Mike Chiavaro, enlisted Krasno to add in some guitar to the mix and before they knew it, the trio had an album's worth of material and thus King Canyon was born.

The guys have still yet to meet in person, but despite this, the grooves are insatiable. The writing and feel are unlike any other projects these musicians have been involved with previously.

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

It's been a few years since Gemmy returned with a release, but he's back in business with a brand new 12 on Infernal Sounds. Entering the imprint on the milestone 30th release, this is a record of pure character and old-school licks that you'd be more than accustomed to if you've listened to the purple-laced producer in previous years. 'Irreversible Culture' kicks things off with a rough and tough low end kick and step, layering that ultimate groove and steppers delight.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

After the success of Cruise Control repress, Les Disques Bongo Joe are proud to announce the official reissue of Polymood, second album of L"Éclair and maybe their most renowned project for the moment. Recorded live in Amsterdam by the wizard Japser Gelük (Altin Gün, Allah Las, Jacco Gardner, this library-groove-oriented album goes deep into L"Éclair influences back in the days : Piero Piccioni, AIR, Sly Stone or Can.

In the midst of all saturation and all great music that is been released these days Terrell returns with his first debut album, 7 tracks that can Voyage from House to a new type of "New Wave" of Electronic music, the warming leads and the unusual percussions, conveying Innovation and a new sound aesthetic

In a world seemingly gone crazy a bit of good old common sense is as necessary as a simple cup of black coffee.” A random quote out of the ether but one that could define the sound, the style and craftmanship of The Irrational Library. Based on a foundation of groove set forth by Mishal Zeera on the bass guitar and Lars van der Weiden on drums; this sets the locomotive in motion for the guitar and baritone sax of Tom de Haan to build upon. A sonic sound that continues to search in between the lines, to reach where most musician dare not to dwell. A musical landscape so familiar yet fresh and new for these times. And
always waiting and watching, ready to jump that train are the poetic and socially zoomed in words of Joshua Baumgarten.

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

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

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

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

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

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

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