quête:hi rhythm

Fabrizio Maurizi makes his debut on Infuse this October as he delivers his latest EP ‘Jumping’, backed by a remix from Pierre Codarin.

A staple within the Italian house and techno scene for over a decade, Bologna’s Fabrizio Maurizi is a producer and DJ now known across the globe for his seamless blend of the two styles across his productions and DJ sets. One half of the duo Bassa Clan, with material via their self-titled imprint, and a member of the Bolo Represent collective, Maurizi’s recent releases include EPs via labels such Bodyparts, Memoria, Want?, Re.face, whilst playing sets worldwide for renowned institutions such as fabric, Robert Johnson, Womb and Cocoricò. Next up, October signals the arrival of a new name to his catalogue as he heads to FUSE sister imprint Infuse to deliver three fresh productions in the form of his ‘Jumping’ EP – accompanied by bubbling UK talent Pierre Codarin on remix duties.

The slick and paired back title track ‘Jumping’ opens proceedings as Maurizi fuses minimal soundscapes with more jazz-influenced notes and tones, whilst Pierre Codarin’s remix ups the energy levels as he introduces metallic drum licks, spiralling electronics and a snaking bassline to the mix. On the flip, ‘Night and Day’ harnesses a classy blend of dubby chords, slinking hats and echoed vocals, before closing the package via the off-kilter rhythms and loose, glitch-driven drums of hypnotic after-hours cut ‘Caravel’.

Latin tinged California funk band Magnum has seens its reputation blossom since the original releas of their LP "Fully Loaded" An exuberant band of individually talented musicians working in an expansive and comfortable environment, they give a loose funky overlay to a grounded R&B and Jazz sound that included a variety of instruments including whistles, that lift the music to an exciting , hypnotic groove.

Based in San Pedro Bay, California, Magnum origianlly consisted of brothers Michael Greene (multi-instrumentalist and youngest in the group) playing piano, organ, percussion and vocals and Harold Greene on bass, with Kevin "Cornbread" Thornton on lead and rhythm guitars and doing the arrangements, Vance Wormley on trombone, organ, piano and percussion and with George Chaney on congos & bongos; Thurron Mallory, playing tenor, alto sax and electricfied percussion, joined six months later and brought with him the rest of the Magnum Horn esemble with Lamont Payne on trumpet as well as percussion.

A contemporary dance score for award winning British choreographer Wayne McGregor inspired by Sergei Pavlovich Diaghilev (1872-1929). 'My composer for Dyad, Icelandic musician ?lafur Arnalds, is coming in next week to finish work on the score. It's an amazing piece of music ? it's melancholic and spatial then cuts to extreme rhythmic violence - it's hauntingly inspiring' ? Wayne McGregor (Random Dance) 2009 has already proved quite a year for Iceland's neo-classical export ?lafur Arnalds. Still high on the success of his 7-song series 'Found Songs' ? recording a song a day for 7 days and instantly making each track available via Twitter; ?lafur was approached by the world renowned and critically acclaimed choreographer Wayne McGregor to create a 30-minute score for his ambitious new work 'Dyad 1909'. The dance piece, inspired and created 'In The Spirit of Diaghilev' premiered at the Sadler's Wells theatre this October and became an unpredictable and much talked about 5-nights of live music, dance and visuals. This 'fascinating collaboration' (Guardian) will go on a EU-wide tour this autumn with Arnalds included in an impressive creative line-up alongside visual artists and filmmakers Jane and Louise Wilson. In December ?lafur's 'evocative and lyrical score' (The Times) will see a 10" vinyl, CD and digital release via Erased Tapes ? the label behind his previous releases as well as Peter Broderick's recent and much noted dance score release 'Music For Falling From Trees'. Born in 1987, ?lafur hails from the suburban Icelandic town, Mosfellsb?r, just a few kilometres outside of Reykjav?k. He has immersed himself completely in a world of delicate symphonic compositions generating near weightless orchestral pieces. Arnalds explores the crossover from classical to pop by mixing chamber strings and piano with discreet electronics which makes him a perfect fit for cinematic pop label Erased Tapes. His motivations are clear: "The classical scene is kind of closed to people who haven't been studying music all their lives. I would like to bring my classical influence to the people who don't usually listen to this kind of music?open people's minds." This young artist is steadily gaining recognition worldwide since his 2007 debut 'Eulogy for Evolution' and the 2008 follow-up EP 'Variations of Static'. In April 2009 online experiment 'Found Songs' received more than 200,000 downloads via foundsongs.erasedtapes and the physical edition released this August has instantly become a best seller, demonstrating that music in its physical format still attains a particular charm. ?lafur conceived 'Found Songs' as a way to collate several lost and found musical sketches and ideas in a 'very challenging, but fun' series. The experiment offers its listeners an intimate insight into ?lafur Arnalds' creative world with artwork contributions from fans via Flickr. With the next full-length release due in 2010, 'Found Songs' hasn't just inspired 2-D work. Esteban Di?cono ? a young motion graphic artist from Buenos Aires, Argentina ? created an astonishing animation video for 'Lj?si?', which found its way into the heart of UK illusionist Darren Brown among over 400,000 others within 4 weeks via Vimeo and YouTube. The music video is now available for download via iTunes. ?lafur is currently in the studio with Bardi Johannsson (Bang Gang) who will be co-producing his upcoming and highly anticipated second full-length album.

The sixth vinyl release of the Valencian label HC Records is signed by the legendary

brothers John & Paul Healy aka "Somatic Responses" in "Interlinked Ep". To talk about

them is to talk about real heroes of the history of the most personal, raw and abstract

electronic music born in Wales. Active since 1994, to this day they continue experimenting

with all their analogical stuff to compose with tremendous regularity.


The neural connection of wet cable with the Somatic Responses universe begins with "Satin

Armour", a stunning and beautiful electro melodic track surrounded by rough rhythms and

strange atmospheres like a rose protected by steel thorns. Raw, primitive and rough rhythms

are the presentation card of "Snake"; a track with a marked industrial influence where an

avalanche of beams and Martian LFOs, with a marked acid taste, develop along this

primitive discharge of high electric voltage. The mechanical and industrial force hits our

prefrontal cortex in "Interlinked (Cell Mix)", a sonic aggression that combines all the

violence of the Intelligent Hardcore Techno with an avalanche of mysterious and fatalistic

auras coming from a future Cyberpunk.

"Aria" inaugurates the B side of the vinyl in a demonstration of harmonic virtuosity and

synthesizer juggling, seasoned with a whirlwind of accelerated broken rhythms totally

saturated with emotion, passion and hope.


The album's farewell track is "Heading South", a strange emotional trip, with velvety

cadences and dreamy pads seen through a stereogram, a potential anthem.

Four digital bonus tracks complete the journey through the dark future designed by the


Healy brothers:

"Dolaucothiacid v2" is an advanced and sharp experiment in several layers of pressure and

distortion around the amalgam of possibilities of the stacking of corrosive sequences and

abstract structures.


"Automaton Reign" reinvents all the concepts of the most acidic and vengeful Techno

Industrial, a merciless brain-roller. Persistent Illusion infiltrates us in the middle of an epic

and decadent combat of space cruisers where nobody survives, rhythmic rage and metallic

histrionics. We don't abandon the forcefulness or the post-apocalyptic hysteria in "Cell

(Loquelic Mix)" a demolishing closure that connects us fully in the already tangible manmachine

connection.



For this special release, we have collaborated with the Valencian artist Manuel Monzonís,

who has been in charge of creating the cover illustration. A stunning work that perfectly

captures the spirit of this Interlinked EP.

Philipp Otterbach’s psychedelic music never been a sunshine pleasure pill. But yet, the souls of his notes are deeply gentle. With “Everything Else Matters” the Berlin based DJ and producer now introduces his debut album, that follows a long introduction. Already since a while he devotes himself with endurance to music. He was an early resident at Düsseldorf’s shrine for outernational grooves Salon Des Amateurs. Since 2014 he releases music under his given name or as Grand Optimist on labels like Grokenberger Records, Knekelhuis or Themes For Great Cities and leaves marks as a remixer for artists like DJ Normal 4, Brainwaltzera, Wolf Müller and Niklas Wandt on labels like Growing Bin Records or Second Circle. His long DJ nights and already released music prefigures the spirits, that he now bunched on his first album. It’s a record, that does not want to pursue a straight categorization. It rather aims to spellbound with an atmosphere, that is made for moments in the absence of hysteria. Tribalistic, trip-hopping rhythms, menacing sounds, cold cool vocal passages, drone chants, morbid goth-ambient spheres, Indie rock indications: its many facets meld into some kind of black highway sound for thoughtful night prowlers in a dissociative state of mind. In context all particles achieve delicate sculptural effects that operate like the surprising architecture of a dream. A forward- thinking dream, that bundles something otherworldly, something unspeakable, that lives hauntingly between the sounds, rhythms and suggested melodies.

THUGWIDOW (Circadian Rhythms / Tar) is an artist that creates 'modern jungle with a sense of atmosphere and space that alludes most of his peers' (Resident Advisor), Bruised Skies (Pure Life Records / Blank Editions) creates ambience that captures a hyper-real landscape. Here on 'Requiem For a Sesh', the pairs first collaborative record, these two worlds collide to bring the listener an offering of strobe-laden 4x4, disfigured break beats, low slung sqaure waves and euphoria inducing top lines.

EP opener 'Epic Questing' is arguably the most dance-floor refined offering from either artist - sliced vocal chops and hard hitting kick drums tip the hat to classic 90's house anthems before heavily chopped jungle breaks and compressed 808's splinter around your ear drums like it's 3am at Unit 18 and the lighting technician is coming up riding the lazer fader. The ecstasy-laced piano melodies of title track 'Requiem For A Sesh' sounds like the sonic fruits of children raised on Olvie's 'You're not alone' and early XL Recordings 12"s. Elsewhere, 'Void Release' is a peak time 6-minute cataclysm of heavily sliced jungle breaks and jittering basslines, whilst EP closer 'Infinite Bass' feels like the clock winding down on the end of a night that we wish could go on forever.

Bruised Skies has recently been receiving radio support from Murlo, Lee Gamble & Francis Redman. Whilst THUGWIDOW's recent releases have received support from Team Sesh, Amy Becker & Whities as well as glistening reviews on The Quietus, & Resident Advisor.

Conjunto Papa Upa returns with “Todo Parao” (“Total Shutdown”), another boundary pushing tropical smasher. Bringing you the ultimate (humourous) hymn to the pandemic over an exquisite blend of highly danceable Caribbean rhythms (zouk, cadence, kompás, guaracha) and classic synths. Backed by a deep sea dub on the flip, complete with resplendent cowbell(!), timbales and Wurlitzer solos. Another stepping stone that showcases yet another angle of the unique and radical production style of Alex Figueira. Drop this 45 at your next virtual party and watch everybody leave their computers in a desperate search of a dancing partner.

Conjunto Papa Upa is the Afro Caribbean centered solo project of Figueira, backed live bysome of the best musicians from Amsterdam’s Latin and free jazz scenes. Their debut LP was recently released on legendary American indie label Names You Can Trust. Figueira is also known for his percussive work on tropical psych power trio Fumaça Preta or his regular live incursions with Amsterdam’s turkish psych folk powerhouse, Altin Gun.

Having spent the whole night working on the melodic structure of the song, Figueira took a break to take advantage of the different time zones and check on his dad in Venezuela, and ask how the pandemic was unfolding there. His answer: “Todo Parao” (“Total Shutdown”). The same two words he had used multiple times before, this time pronounced in a hilarious Rum-infused way, giving Alex an unexpected flush of inspiration in the form of an instant infectious chorus. He excused himself and immediately got locked back in the studio. The result is this incredibly catchy tune, displaying the optimistic approach of a boyfriend to the chaos, uncertainty and worrying of his girlfriend about the pandemic, presenting her with his own lascivious lockdown plan for the two, declaring at a certain moment: “while everyone is lamenting, you and I are going to enjoy”.

In the musical side, rhythms from Haiti, Guadaloupe, Martinique, Puerto Rico and Cuba are unscrupulously mixed with the most diverse and strikking elements: strident cowbells that evoke the toughest salsa of 70's New York, harmonized guitars evidencing the inconfesable influence of 80’s heavy metal, a delicate Wurlitzer piano reminiscent of Black America’s greatest Soul ballads, Casio keyboards rescued from a child’s toy cabinet and a whole plethora of half-broken classic Synths, to create an equally irresistible and unclassifiable hybrid.

On the flip side, Part 2 opens with a prominent dose of the lead guitar that appeared briefly on the A side, working as a preamble to an instrumentalist frenzy that is not concerned about displaying technique. Its mere intention is to tell you the rest of the story without using words. A few bars into the song, the first gear shifts with a monumental solo given by the least probable of all “soloist” instruments: the cowbell (!). After it, a crispy Timbal crashes the party, making a statement out of its only appearance in the entire recording. Finally, the longed-for turn of the melodious Wurlitzer, who left everybody craving for more on the other side of the record, giving the modest keyboard skills of Figueira an imposing pentatonic virtue.

Over two years in the making, and it’s finally here. Amsterdam based, brand new old-school label “Betonska” kicks off with this highly diverse release for the selector, collector, radio host and club DJ.

Crisp instrumentation, tight retro drum computer programming and propulsive danceable bass lines are what you will find here. The Amsterdam based label will be focusing on previously unreleased and tough-to-find material from the 80s and 90s – all re-mastered, officially licensed and in collaboration with the original artist. In addition to the original material an occasional modern twist will be given by contemporary artists who cherish that signature sound.

The first release is an alternative issue of Flo Sullivan’s “Higher” release, originally recorded in 1984 in the world famous Amazon Studios in Liverpool and released in 1985. On the A-side both the 12” and the 7” version of the hard-to-get, firm synth-pop track “Higher” will be pressed on a loud 45rpm vinyl. The 12” version is the (bass-)heavier one, while the 7” version sounds more “organic” with an extended intro and an added horns part. The tracks on the A-side have been pressed before and are made available now again for the wider public, giving those tracks the recognition and attention they deserve.

The B-side focuses on previously unreleased original downtempo material by the same artist but released under her real name: Gayna Rose Madder. This, accompanied by a refreshing club-ready remix of one of those tracks by Vienna’s top-notch selector, producer and Neubau label owner: Heap.

Neither of the two original tracks “Over” and “Element” have ever been released on vinyl before, up until now. “Over” was written and recorded in 1983 in Splash Sound Studios in Liverpool. A beautiful melancholic synth-pop track, which was meant to be released, but unfortunately never saw the light of day. At the time it was recorded Gayna left her band “Shiny Two Shiny” and therefore needed a new deal from a different company for her solo releases. But by the time she found the right one, many newer songs needed release. Much later, in 2005, Gayna decided to self-release “Over” on a compilation CD to sell copies online.

“Element” is a spoken-word poem accompanied by a fire-crackling tribal kind of rhythm. It was written for a musical play and recorded in Sparks Studio Liverpool in 2004 and has never officially been released before. (For a short period it was available on a self-released CD on Gayna’s website; a compilation of the songs written for one of her musicals).

And last but not least, the icing on the cake is Heap’s remix of “Element”. He translated this spoken word poem into a refreshing 90s-style and danceable club-track to complete the diversity of Betonska’s first release. A chugging acid bass, breakbeat rhythms, crisp claps and sharp snares and a screeching lead synth to get you screaming on the dance floor.

The band that modernised Zimbabwean music, and by doing so revolutionised the music industry in their country. Available for the first time on vinyl (180 gramms) with gatefold cover, and now all tracks fully remastered !

In 1972, the country of Rhodesia – as Zimbabwe was then known – was in the middle of a long-simmering struggle for independence from British colonial rule.
In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them).
From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music – later known as Chimurenga, from the Shona word for ‘struggle’ – was born.

And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band. The band came into being when a young trumpet player named Daram Karanga offered to assemble a group to entertain the workers at a copper mine in the town of Mhangura.

The original line-up – which included legendary singer Thomas Mapfumo, who would bring the sounds of Chimurenga to the world in the early 1980s with his band the Blacks Unlimited, and Joshua Hlomayi, one of the pioneers of mbira- style guitar – started out playing the Rumba and Afro-Rock styles popular in the capital. Although this was a hit with the white owners of the mine, the workers greeted it with indifference. But when they started adding electric arrangements of traditional Shona music to their repertoire, the audience went wild.

With the addition of “Zim” sounds to their arsenal, the HCR Band became unstoppable. Their reputation spread quickly and, in 1974, they were invited to the capital to compete in a national music contest organised by the South-African Teal label. Not only did they win the competition, but they also attracted the attention of famed producer Crispen Matema, who quickly organised their first recording sessions.
On their first day at Jameson House studios, they recorded half a dozen songs, including “Ngoma Yarira” and “Murembo”, two singles that would alter the course of Zimbabwean popular music.
During the next five years, the band would relocate from their small mining town to the capital city, go through numerous line-up changes and pay a few more visits to the recording studio, without ever losing the raucous urgency that had transformed them from popular entertainers into titans of Zimbabwean culture.

resh imprint Caldeira open their account with the first vinyl retrospective of Swiss composer Louis Crelier, whose FM sorcery and LinnDrum drama takes the listener away to an imaginary Africa.

Standing proud amid the sound waves, Caldeira emerges with a singular mission; to bring us music with hidden depth. Whether it’s a reissue or retrospective, archival or original, each release reflects the Michelin-grade tastebuds of label founder Camille Bertin AKA Plastic Bamboo.

Operating out of the shadow of Les Puces, the Saint-Ouen digger, DJ and producer has turned those in the know onto a wealth of zouk, boogie, proto-house and Balearic bombs over the past couple of years, but it seems he’s saved something truly special for this first release.

Rich with FM synthesis, infectious rhythms and evocative motifs, Rester Partir transports us to a fantasised Africa, found onstage at a Lausanne Theatre in 1985. Scoring a story about a 19th Century French missionary’s trip to Timbuktu, Swiss composer Louis Crelier created his own sonic landscape, capturing the exoticism and otherness of an imaginary Mali. Though the hypnotic rhythms and cascading mallets conjure images of the continent, the queasy keys, dubby idents and synthetic sonatas suggest something more interplanetary - picture James T. Kirk and Spock beaming down into the ochre dust of a ruined city.

Aided and abetted by a selection of ambient interludes, jazzy diversions and polyrhythmic excerpts from Crelier’s film work, as well as the exceptionally Balearic Deep In The Dale from TV series Alpine Academy, the largely unreleased compositions on Rester Partir finally break the fourth wall to find the wider audience they deserve.


Words by Patrick Ryder

Patrice Scott returns to the controls, offering up a fresh platter of high grade goodness for your listening pleasure. Featuring 3 cuts of his trademark, modern Detroit sounds, this EP sees Patrice continuing to keep the Sistrum standard high and utterly unadulterated. Depth, emotion and groove lead the way through chords, tones and rhythms that call to all who seek sonic salvation. As always, turn it up and enjoy - on the dancefloor, the home hi-fi or anywhere in between

In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. We’re overjoyed to finally announce that Jneiro Jarel’s After A Thousand Years is now set for an October 2020 release.

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit.

Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.

On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam.

Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership.

After A Thousand Years will be released on Vinyl LP and CD on the 30th October 2020 via Far Out Recordings.

FEEDBACK

“great release. Really like this!” Antal (Rush Hour)
“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt
“Sounding real good!” Errol Anderson (Touching Bass)
“I love it!!!!!!!” Raffaele Costantino (RAI RADIO 2)
“Sounds great. Congratulations. Will play it on my radio shows.” Batida
“Will pitch album to my editors” Dean Van Nguyen
“Please send me the full album once it's finished.” Francisco Noronha (Publico PT)
“Beautiful man. So happy that he's ok” King Hippo (WLPN-LP / Worldwide FM)
“cracking tune. already lined up to add to playlist. might go into radio show too.. love it” Oli Brunetti (Collectivo Futuro / Olindo Records)
“Amazing! Ive not heard anything from JJ for a long time but a welcome return, this is a cracking track. Looking forward to hearing more new material.” Mickey Jukes (1BTN FM)
“Very vibrant, fresh release! It gets better every time I am listening to it.” Shantisan (Superfly FM Vienna)
“This is a pretty special track , unique sound but very accessible , like it a lot and will play in my show Look forward to hearing the LP” Andy Wilson (Ibiza Sonica Radio)
“So good to hear Jneiro again, loving this cut. Thanks!” Chris Knight (Astrojazz)
“sublime !!!! will definitely play !!!” Mark Milz (Radio Corax)
“I-Robots approved!” Thanks for sharing...” I-Robots

Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.

Leroy Smart the self-proclaimed ‘Don’, carries much respect in the Jamaican musical community. His attacking vocal style gives his lyrics and tunes that extra meaningfulness.

Born in Jamaica and orphaned as a young child, Leroy was sent to Maxfield Park children's home and educated at the famed Alpha Boys School. The school was run by nuns who encouraged musical talent and would provide the world with the cream of Jamaica’s artistic talent. Such legends as Don Drummond, Tommy McCook, Johnny’ Dizzy’ Moore, to name but a few, all learnt their musical trade in this strict environment.

Leroy worked with many Jamaican producers, but seemed to find his feet working with Bunny ’Striker’ Lee. With whom he cut many of his greatest tunes. It is from this period that we have compiled this album. Featuring lost to now dubs to many of his classic tunes, like ' Wreck up my Life’, featured here as ’Dub Wrecker’. ’God Helps the Man’ Help yourself to Dub, Pride and Ambition If I should Dub. Fittest of the Fittest Dub for the Fittest and the title track of this selection his self-affirming Mr Smart Mr Smart in Dub.

These work alongside less known cuts that he also puts his musical stamp on .’No Love’ No Love In Dub. which sees him working over the ‘Zion Gate’ rhythm, made famous by Mr Horace Andy. The ‘My Conversation’ rhythm originally cut by Slim Smith but made into Leroy’s own ‘Jah Jah Forgive them’ For They Know What They Dub. All portrayed in his enviable style.

Such was Mr Leroy Smart’s stature in his homeland Jamaica, that when the ‘One Love’ peace concert line-up was put together for the 22nd of April 1978. The best of Jamaica’s Reggae stars was picked to play alongside Bob Marley & the Wailers. Such greats as Dennis Brown, The Mighty Diamonds, Peter Tosh and Inner Circle were chosen alongside the Don himself, Mr Smart. Whose stage shows were always colourful and to say the least eventful..

Mr Smart has continued to release music during the 80’s & 90’s, most notably with ‘She Just a Draw Card’ & ‘I’m the Don’. But as a set we feel this stands up with the best of them. Hope you enjoy the ride...

Respect Jah Floyd.

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

- Unreleased full version of this rare 45 for the first time.

- Cut from tape to lathe by the masters at Timmion Cutting Lab.

Western Michigan had a very healthy music scene throughout the '60s and '70s, with Georgia-born soul legend Jackey Beavers (aka Jackie Beavers) and producer Palmer James forging that area's soul identity. Beavers produced the recording by this obscure band from Battle Creek and issued their only 45 on his Jaber label. The rhythm section of Wright, Teasley and Scurlock were better known as Jr. Walker's All Star group, and they made this recording shortly before leaving the bandleader's ranks. The Us would share ties with the Apachies (track 20), for both bands included at some point members of Jr Walker's All Stars. Trombonist Jack Hill would be involved in both bands and would help create the unique arrangement on 'Let's Do It Today.' Bassist Larry Scurlock recounts the origin behind the song's theme, "We were ready to get on with it. No draggin' around, let's do this now, today is the day! I've lived this motto for all of my life."

The full-length version here shows The Us head into psychedelic regions in the final minutes of the song that have never been heard since they were recorded over 30 years ago. "I wrote it in less than half a day to get some royalties" remembers Scurlock. "We were experimenting with tuning, a quarter tone below the note. We were sure under the influence back in those days!"

The 4th release on Sofia by KiNK is all about warmth. The harmonies are deep, the instruments are muffled, the rhythms are humanised. Even when some of the tracks are getting a bit aggressive, they are not hurting, but giving the right amount of energy and surprise. This record is built from some of the live streams Strahil was doing during the pandemic lockdown in April. "101 Reasons" is a track with disco epic-ness and techno attitude. It captures KiNK's dream of being on the sweaty floor again, surrounded by dancers, one big family, like it used to be. "Dreamer" is low key house music, with melodies, leaking between the notes and the rhythms are somehow derailing, but instead of chaos, you get that dreamy feeling like if you watch a ribbon in the sky. The phenomenal Dutch artist Frits Wentink delivers a tighter version of the track with his unique swing on the drums and extra chords, which uplift the track with new energy. The closing song "Set The Mood Right" is recorded with his usual collaborator Rachel Row on the vocals. It's a very relaxed downtempo track, which takes an unexpected turn and it's a perfect open end for the record. A warm record for the cold days.

Randstad is the production and DJ moniker of dutch multimedia artist Thomas van Linge, co-founder of the record labels BAKK and Rubber and freshly relocated to Berlin. After first hearing his rhythmic drum
workout on ‘Metalloid’, his contribution for this year’s ‘Still Life’ compilation, we’re glad to have tapped his second EP ‘These Serpents’ for Veyl. Randstad is pushing his idea across the spectrum of industrialized beat music for this outright roaring 6-tracker ideal to tear down clubs when they finally re-open in 2036.

The Mighty Jah Stitch was a legend in Jamaica, making the move as so many ghetto youth’s have tried from Bad Man to Music Man. Jah Stitch embraced the DJ Culture that he himself was an integral part of.
He put not one but two musical stamps on the format. His initial Big Youth sounding chants grew from working alongside the man on the mic. The second almost spoken vibe came about after a well documented incident that led to him being shot .He lived to tell the tale and cut some of the finest Roots DJ cuts, with his new vocal style that many copied but few have surpassed.

We have selected some of his best known tracks to show the knack of working a killer rhythm and dubbed vocal with an almost call and response story telling style.
The opening and title track to this set ‘Dread Inna Jamdown’ sees him working over John Holt’s ‘In The Springtime’.
The second cut ‘Dem Seek Natty Everywhere’ works another John Holt classic ‘Forgot to Say I Love You’.

After some hits in the 1970’s, the 1980’s would see a short name change to Major Stitch.
But we feel that his best loved monicker Jah Stitch serves the man well.
So sit back and enjoy some fine DJ Cuts

No Dread Can’t Dead…Jah Stitch R.I.P

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London



Originally released by Theresa in 1981, this frequently exquisite set features the McCoy Tyner-inspired piano of Joe Bonner on four originals, Cal Massey's "Quiet Dawn," and "Lush Life." Bonner and a rhythm section are joined by a string quartet, trumpet, trombone, and flutist Holly Hofmann (the leader provided the arrangements) for music that is both lyrical and often passionate. Bonner is an underrated talent, and this is one of his finest recordings. by Scott Yanow



Bonner is only the second-most famous pianist born in Rocky Mount, N.C., behind Thelonious Monk. It’s indicative of Bonner’s lack of fame and appreciation that Monk is listed as a notable resident on Rocky Mount’s Wikipedia page, but Bonner is not.

But the pianist Bonner was most often compared to was not Monk but McCoy Tyner. Scott Yanow’s allmusic review of Impressions of Copenhagen said Bonner’s piano playing was “McCoy Tyner-inspired.” Bonner’s admittedly biased drummer, Tom Tilton, even felt Bonner surpassed Tyner. “Joe Bonner has all the power of McCoy, he has all the capability of McCoy, but he’s so much more romantic,” Tilton said, according to westword “I mean, I’ve been there time after time where there were tears running down people’s faces when he would play a ballad. He could captivate a room like nobody I’ve ever experienced before.”

Bonner did most of his playing over the last two decades in Denver, where he was beloved and appreciated. Even Gov. John Hickenlooper was a Bonner fan. “He was without question, the most talented piano player I’ve ever heard,” the governor told the website heyreverb in a remembrance of Bonner. “… I want people to know that I loved Joe Bonner.”

After the great success of the first two releases of the RE-TOUCHED SERIES, Conform Records continues its journey by giving us a new gem to collect. Gaetano Parisio seems to have no intention of stopping and calls other 5 legends to get their hands on tracks of his label's catalog. The third release contains four tracks plus one digital only bonus with heavyweights Deetron, Steve Bicknell, Ken Ishii, Oscar Mulero and Alexander Kowalski all stepping up.

Once again Swiss legend DEETRON, through his class, hits the mark. His Vesuvius edit of Gaetek's is a slamming track with driving drums and worms synths that bring it into the present day with a real sense of style.

STEVE BICKNELL is another techno legend who runs his own 6dimensions label. His edit of a track from Gaetano's Ritmatica goes as usual directly to the point. Steve stays true to the original sense of the track by masterfully adding his "Lost" touch through reverbs and percussion.

KEN ISHII, a true Japanese techno titan, incredibly manages to bring color and life to Gaetek's Advanced Series Vol. II. The result is amazing! The track is a dance floor killer. Its vintage charm is the key!

The Spanish Maestro, OSCAR MULERO, brings his dark and hypnotic style to the original Gaetek track. His Ømre Edit totally distorts the original one using percussion and filters giving that hypnotic flow for which the Madrid artist has always been known and respected throughout the techno underground scene.

To close this majestic EP ALEXANDER KOWALSKI, the backbone of the German techno scene, through his incredible talent creates a true masterpiece. His edit of Gaetano Parisio's Quake is undoubtedly something special. The syncopated rhythm and the addition of synths, create a third millennium atmosphere. His crystal clear talent as a producer is captured in these 6.25 mins.

Lovers of true techno will not be disappointed. This is for sure!

studio mule is back with another amazement, opening the roster towards sophisticated spiritual sounds on the crossroads of electrified jazz, oriental fourth-world spheres and deeply composed experimental sounds. this time the label welcomes japanese artist ya-sukazu sato aka yas-kaz, a university-trained percussionist, that gained global success as a composer for the internationally known butoh dance troupe sankai juku, that tours around the world since 1975. his infrequent musical amalgamation of ancient eastern genres, airy soundscapes, and ritualistic dance percussions perfectly accompanied the modern dance movements of an avantgarde dance group that is known for slow, mesmerizing dance passages, whose repetitive body movements sometimes focusing only on the feet or fingers. besides his theatre work, yas-kaz composed scores for japanese movies, performed live along stars like us-american jazz saxophonist wayne shorter or legendary japanese new-age musical group himekami and recorded a number of collabo-rative and solo albums.

with “virgo indigo”, studio mule reissues his third solo album, originally published on the japanese label canyon in 1986. the album opens with “djidanda”, a composition whose melodic drive and percussive groove reminds on moondog’s spirit. melancholic strings, loose guitar riffs, spiritual cowbells and wild, yet mild rhythms form a repetitive maelstrom that is made for all sorts of acrobatic body movements. it gets followed by the album’s title track “virgo indigo”, a spiritual jazz leaning arrangement featuring wayne shorter on the soprano saxophone, delivering a crystal-clear performance above tribal rhythms and traces of gamelan. the story-arc of the ten-minute long composition brings also minimalistic percussive moments, oriental ambient zones and some electronic drones, all calm and lively at the same time.

a versatileness, that marks the other four arrangements on the album, too. “kara-kira ~windscape iii~” comes around as an airy spiritual illusionist, that melds joyful flute notes with gentle chime melodies. the b-side’s epic opener “wadji” starts industrial, just to break down into a manic, again moondogish atmosphere full of darkish sounds and nebulous ambient deepness. subsequent yas-kaz enters with “notarinotari” the oriental zones, seducing with a jazz-laden romantic soundtrack mood. the final tune is yet another surprise, as “jasmin” is percussive driven neon cocktail bar pop, that features a hum-ming female voice and mesmerizing synth and guitar melodies. six tracks that introduce six different locations of yas-kaz’s ramified artistic work, which combines sweetish melodies, dynamic percussions, statuesque minimalism and world music traditions in spacious compositions that stay surprising until the very last second.

Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.

Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.

To call the Reverend John Wilkins a national treasure would not be an overstatement. He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.

Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”

But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”

The album 'Balance' by Frank Bretschneider & Taylor Deupree was originally released in 2002 by Mille Plateaux on CD only. The 9 tracks on 'Balance' are a perfect example for the aesthetics to arise within the Click & Cuts scene and (ambient-)glitch music movement of the late 90s and early 2000s.

The two masters of microscopic sounds and sine wave/white noise-based music constructed these seamlessly mixed pieces around rhythms and melodies, which grants the album plenty of dynamics. The wide variety of carefully chosen ambient sounds throughout the whole work endows 'Balance' warmth and intimacy.

The recordings are now available for the first time on vinyl within the KeplarRev series, presented in a new updated artwork based on the original layout with photographs by Taylor Deupree.

From the original press release in 2002:

"Balance is the first and so far only collaborative release from Frank Bretschneider (Berlin) and Taylor Deupree (Brooklyn). Both of these artists are no strangers to the ears of many; Taylor Deupree is one of New York's most vibrant electronic producers. From his early techno days as a member of Prototype 909 to his current status as one of N. America's key "microscopic" electronic composers and to add runs the prestigious 12K and LINE labels. Frank Bretschneider is a key member and founder of the prestigious Raster Music label, he has critically acclaimed releases under the names Komet and Produkt. It's easy to say that Frank Bretschneider has created some of the most influential spatial electronics of the late 90's.

Utilizing both artists keen ears for carefully crafted sounds, Balance blends the clean sine wave / white noise of Bretschneider with the defined grit of Deupree's granular synthesis. Realized entirely on Nord Modular synthesizers, Bretschneider and Deupree exchanged patch files through email and began constructing foundation loops. Bretschneider then created initial mixes of 9 songs and then sent them to Deupree who remixed and re-processed them. This digital exchange allowed for them to work using their own methods and aesthetic while combining the similarities of each others interests. The result is a looping and churning rhythmic work that is both synthetic, warm, dubby and tonally challenging. Thus Balance creates an engaging balance between the 2 artists aesthetics."

Love All Day is pleased to present Facets, our third collaboration with renowned contemporary electronic composer, Norm Chambers (Panabrite, Jurgen Muller). As the title implies, it's a many-dimensional work, and one born from a time of crisis in Chambers' life. Created in the spring of 2019 while experiencing health issues that were ultimately diagnosed as being a rare form of sinus cancer, Facets reveals Chambers efforts to push himself to places he hadn't gone before ----to try to rid himself of old habits & embrace potentially unsuccessful creative attempts, whatever the result. Faced with a sense of urgency & riding a creative wave, the tracks came together quickly as he explored new creative vistas ---his familiar, bucolic landscapes now occasionally interrupted by craggy rhythms and aural horizons that fluctuate like air on desert sand. Concerned that these works would be his final statement, he quickly released them digitally as he awaited surgery & chemotherapy to treat his illness. After his near brush with death & subsequent recovery, we're extremely grateful to have the opportunity to re-present this singular work by one of our favorite artists with deliberate intention and care as a long playing album.

clear magenta vinyl edition

EP number eight of the "10 Years De:tuned" series is centered around the 303 tinged acidic sound. This release kicks off with a new and innovative version of Humanoid's highly ranked and major influential classic acid house cut, followed by a proper rave peak time slammer courtesy of Mike Dred. The B-side brings Luke Vibert's grinding acid funk rhythm to the table, plus the squelchy "Strunkelpotz" produced by the cult duo Air Liquide, resulting in a broader spectrum of acid-referencing styles with the same brain-melting effect!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering and pressed on 180 gr vinyl. Stay tuned!

LINER NOTES BY JOHN-PAUL SHIVER:

Reinier Thijs a.k.a. Thijsenterprise's new project Lahringen begins where most of his previous creations have left off. Through reedy skronking sax, no easy listening aesthetics here, we get that passport to the '80s. The intersection between Lou Reed's old New York attitude and the encroaching rhythmic assault about to hit. Post-punk, featuring steady bass lines—peak demon Jaco to cool as fuck Slits era—in transit.

The first track in, bumping new-wave-jazz bravado, immediately covers those grounds the Dutch native likes to dig in on. He pays tribute to Gato Barbieri with "El Arriero", continuing in that off-kilter mash-up of sound textures. This time its beats and machismo.

But "Sketchy", an original arrangement, taps Reinier's dedication to skateboarding. Named for when skate rats land a trick sloppy, non-smooth, or ugly he does in fact match the sound of the bass with the feeling of ‘meh.’ “The drums and percussion in the track carry a driving pulse, and the saxophone plays a light melody, ping-ponging between the groove of the rhythm section, making the track very repetitive, catchy," stated Reinier.

NAPPYNAPPA and Pat Cain’s Model Home project realigns with Dolo Percussion for SE, their second album on Future Times. A deviation from their self-released run of numerically-titled LPs, SE builds on the impact of REV b/w Flesh - released earlier in 2020 on the label - and shows the Future Times formation of Model Home in full Special Edition mode.

If you’ve been sleeping on Model Home, Nappa and Pat have become a prolific and potent unit of “liberated sound, vision and performance” emblematic of DC’s thriving musical underground community. Self-releasing nearly 20 albums in two years, Pat Cain and Nappa have perfected a sound; a raw expression that is wholly their own. A perfect musical balance attained through intense experimentations in sonic and lyrical imperfection.

Nappa’s blurry-eyed spoken word raps should be recognised alongside the powerful polemics of Moor Mother or the explosive experimentation of Pink Siifu, or fellow DC legend Sir E.U. Nappa is an artist deeply entrenched in the expression of rap but one that recognises there are so many sonic ways in which to frame his state of mind. Which is why the frazzled sound design of Pat Cain has made Model Home such a perfect backdrop for Nappa to express himself. Rap existing in unison with raw electronixxx, dancehall, noise, industrial and whatever else they throw in the mix.

Add the crisply-programmed drums and chaotic FX of Dolo Percussion into the Model Home mix and SE zones into a murky yet richly detailed space that leaves you going “WTF?” multiple times and hammering the repeat button again and again.

Spread over nine tracks, the Model Home trio approach the game from various angles; swerving from the dizzying Bounce triplets and smudged Nappa vox on “Omnipresent Love” to the spacious lyrical interplay n’ woozy moog of “Bag” via the warped Pan Sonic curdle of “Are You Shur?” and the hyper-kynetic rhythmic aerobics of “Topic.”

SE showcases Model Home at their most expressive; plunging deeper into their own weird universe. “Like the seed in the soil,” as Nappa raps on album closer “Cold Gettin’ Dogg.

New full length album by France’s most singular contemporary composer. Reflecting on ancient culture’s use and reverance for emblematic monuments which most often represent myths and stories, the album’s narrative has been infused with such symbolic and depicts an envisioned mythology, unfolding through it’s 10 aural pieces. Franck Vigroux‘s music is unique and comprised of tectonic tension, pulsating rhythms and abrasive analog textures like few can produce. Applying his own calculated personal signature in his sonic explorations his distinctiveness comes not only by his unique approach to sound but also by his incorporation of new media practices and performing arts into his A/V work.
Mastering by Denis Blackham.

Double Vinyl Edition of 500 copies in matt laminated Gatefold Sleeve.
10 Tracks. Running Time 55:10.

Powerful new spiritual jazz from Chile on Soul Jazz Records!

This album comes as a very limited one-off unique pressing of 1000-edition vinyl, limited editon CD and digital release.

Enrique Rodríguez and the Negra Chiway Band group have an instantly powerful and unique sound that is reminiscent of the ensembles of Sun Ra and his Arkestra as well as Horace Tapscott and his Pan-Afrikan Peoples Arkestra, one that channels the righteous spirits of Alice Coltrane, John Coltrane, Pharoah Sanders, Archie Shepp and McCoy Tyner together with a stunning Latin rhythmical and new consciousness and percussive energy. Added to this are elements of the Samurai film soundtracks of Akira Kurosawa, Popol Vuh’s musical spirituality (especially their work with film director Werner Herzog), Tibetan Buddhism and over-blowing chants, that all combine to give a truly unique new sound.

Enrique Rodríguez is a composer, percussionist, keyboardist, and producer from Santiago, Chile, whose work shows many similarities with the music featured on Soul Jazz Records’ recent collection ‘Kaleidoscope - New Spirts Known and Unknown’, featuring new forward-looking jazz artists including Mathew Halsall, Theon Cross, Emma-Jean Thackray and Makaya McCraven.

Like all these artists, Rodríguez’s work is a progressive and experimental fusion of earlier influences that combine into a new and definitely 21st century ground-breaking sound that, on account of its South American setting, give the group its truly unique feeling. Hypnotic modal piano riffs, powerful brass and flutes, an army of Latin percussion instruments, and addictive vocal chants all combine in this powerful mix of radical 60s Afro-centric jazz, eastern spirituality and cosmology, and Latin American rhythmical movement.

Soul Mass Transit System returns to Time Is Now with the weighty ‘Blocked’ EP featuring a collaboration with legendary vocalist Killa P.

Mysterious producer Soul Mass Transit System has been pumping out some serious twelves this year, with killer cuts on labels such as Warehouse Rave, Time Is Now & Rhythm & Vibe. His latest outing ‘Blocked’ EP is the rising producers weightiest work to date, lead track ‘Blocked’ featuring legendary ex Roll Deep member Killa P does some serious damage, backed with three rolling UKG cuts of groovers and movers, best played loud.

Having previously released a slew of tapes on labels such as Clan Destine Records and Live Adult Entertainment, Penelope’s Fiancé lands on Hypermedium for his vinyl debut. Hailing from Stavroupoli, Thessaloniki, Penelope’s Fiancé has been keeping over the past few years a fast pace of work, constantly producing tracks and releasing new music, having shaped a unique sound that drifts across the borders of lo-fi, post-industrial and fuzzy techno. The Cutting Edge Of A Knife is the culmination of all these previous excursions, a solid display of his ability to craft emotionally intense tracks, merging a ghostly, gloomy grandeur with squelching percussive patterns. Opener ‘Lethe’ emerges from the haze with its cryptic atmosphere, moulded in lethargic drones, scattered vocalisms and sparse yet piercing beats and rhythmic build-ups. A panic-fuelled, 160bpm ravey epic, ‘Futile Endevours’ brandishes an ecstatic, pumelling rhythm over recurring trance- flavored melodic phrases and unnerving vocal samples. ‘I Wasn’t Always There’ is a seductive, dark elegy whose melancholic and lush synth melodies wash over chopping kicks and ice-cold hi-hats. ‘Anxiety’ sounds like a slow techno roller, where frozen metallic percussion meets a cavernous bass, right before the off-kilter, cacophonous buzz of ‘The Lie Closest To The Truth’. Closing track ‘The Cutting Edge Of A Knife’ is an intoxicated oriental-stepper, soaked in vaporous middle-eastern percussion and muezzin-like chants.

We are happy to announce the first in anew series of 12" releases under DJ'S CHOICE, Four Flies Records' division devoted to fresh and cool new music in genres ranging from tropical funk and nu-soul to hip hop.

Created during the global lockdown, this new release is a joyful invitation to move our bodies and dance – something that, alas, has become almost impossible in this pandemic-ridden year.
Quero Ver Você Dançar is a collaboration between Rome-based DJ/producer The Rebel, Portuguese DJ/producer Dedy Dread, and Brazilian jazz singer Keila Abeid. Other musicians playing on the track – including Neney Santos (percussions), Marco Ravallese (keys), and Fab Samperi (flute) – masterly contribute to its soulful favela vibes.

Housed in a single jacket with beautiful artwork by Roman illustrator Federica Fruhwirth, the 12-inch single also features a super groovy remix by Mo'Horizons which, with its powerful combination of bossa and drum'n'bass rhythms, makes this release a must for tropical-music aficionados.

Also available on all major digital outlets, with two additional remixes by young Brazilian producers Afterclapp and Brasila Strut.

180g yellow colored vinyl

WRWTFWW Records is not trolling when it says it is very very very happy to announce the official reissue of Richard Band’s soundtrack for horror fantasy classic Troll (1986).The limited edition yellow-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers.The album is also available on CD house in a classic jewel case with cavalier and video store sticker. Both versions contain liner notes by Richard Band himself.

The infamous Troll score is its very own kind of monster: an extended five-movement symphony conducted by Richard Band in full sorcery mode, creating exhilarating moments of excitement and seat-gripping intensity. At the center of the magnum opus lies the incredible "Cantos Profanae" and its chorus sung in a mix of old English, Gaelic, and Latin - an irresistible magic rhythm, an anthem of fantasy, a true cult classic. Richard Band often cites Troll as one of his favorite works - no wonder, it’s absolutely amazing!

This is released in conjunction with the soundtracks of Empire Pictures’ Ghoulies and TerrorVision, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1983, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision were three of Empire’s finest works, and each movie featured an unforgettable score by Charles’ award-winning composer brother Richard Band.

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

• Original 1996 compilation by Gene acts as a fine album in it’s own right
• Featuring early tracks such as ; ‘For the Dead’, ‘Be My Light, Be My Guide’, early live performances from Glastonbury, Radio 1 Session and The Forum and stand out cover versions of ‘I Say A Little Prayer’ and ‘Don’t Let Me Down’
• Double LP pressed on 180g Heavyweight vinyl, with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

• This is Gene’s second studio album released in 1997
• Singles include ‘Where Are They Now?’ (no.22 UK Charts), ‘Speak To Me Someone’ and ‘Fighting Fit’
• Double LP pressed on 180g Heavyweight vinyl, with original artwork,
presented in a gatefold sleeve with printed inner sleeves
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin
Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

• Libertine is Gene’s final studio album released in 2001
• Highlights include the single ‘Is It Over?’ and ‘O Lover’
• Double LP pressed on 180g Heavyweight vinyl with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

“The Grind” by El Agua Es Profunda is a beautiful, ever evolving track. Building from a basic rhythm, layering and layering into an anthemic state. Fans of John Hopkins, Kaito, The Field, Gui Boratto will find a familiar vibe in The Grind, but this vivid and cinematic ten and a half minute production triggers memories of epic moments in any dancer.

The B-side holds a remix by Copenhagen‟s Kasper Marott. Highly regarded for his releases on Modeselektor 's Seilscheibenpfeiler, Courtesy's Kulør, and most recently his own Axces imprint. Marott has taken The Grind on a more intense trip, enhancing the percussive elements for the floor.

Behind the artist name El Agua Es Profunda we find the Danish music producer Jacob Funch. He has previously released four digital EPs as well as the abum “Circumnavigating Lueena“ through his own Gold Records. The productions vary in genre from melodic soundscapes and synth-pop to dance music. Besides his solo work he is a frequently used producer for several other artists on the global leftfield indie scene.

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.