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The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.

In late 70's and early 80's Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.

Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer.

Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.

The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.

Al-Munzer’s five titles from the 1970's and 1980's are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.

Notes by Natalie Shooter, a music journalist and researcher based in Beirut, edited by Will Sumsuch.

A member of popular techno trio Agents of Time, Italian artist Fedele goes solo AF on his Turbo debut, No Mercy for Beginners. Against the backdrop of a nightmare international tour experience, Fedele channeled his negative feelings away from people and into creating darkly euromotional dancefloor catharsis. Try it sometime.

Sharp-eared lovers of listening may notice that lead track “Riot Revolte” purloins the loin jewels (the street-tough vocals) from Tiga’s 2004 classic, “Pleasure from the Bass.” DJ Hell noticed the shit out of this, introducing a mutant variation on the PFTB baseline into his lurid after-hours remix. Moreover, the entire EP recalls the legendary run of killer electro records that kicked off what many, many people refer to as Turbo’s Silver Age in the early-mid 2000s. This may be utterly meaningless, or it may herald the coming era of compressed cyclical time that will dictate dance music taste in the 2020s with the sort of mathematical precision rarely found outside pie chart software. Either way, you heard it here first.

When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

SOL DISCOS is extremely happy to introduce the second volume of their Message In Our Music compilation series, selected by WAXIST. This album is the result of more than two years of work in researching the original recordings, the artists involved & licensing the different songs. Focusing once again on the Modern-Soul genre, the album brings back to light eight extremely rare songs from the mid-70's to the mid-80's, all officially licensed. From the heavy synth Gospel Boogie of Sharnell Morton's "You Are My Shining Star", to
the magnificent Network & Co private Disco "Spirit Of The Boogie", most of these songs are highly difficult to find on their original format, not to mention at a decent price. Direct Connect Shun’s "He's No Good" records have been destroyed in a flood, and the few
copies which have sold on the Internet reach the 3 figures price tags for example. Also, the album is proud to introduce to a wider audience some lesser known but exceptional recordings such as Janice "Nikki" Harrison's "Magic of Love", which is taken from a Broadway musical produced & composed by Ted Wortham - who also composed for
Philadelphia International Recordings artists such as Teddy Pendergrass, Anthony White or Jean Carn. Message In Our Music Vol.2 has been fully remastered, and features interview based liner
notes, along with never seen before pictures of the artists selected

Favorite Recordings proudly presents Recalling You, a dazzling Disco/Jazz-Funk new single EP by our longtime friend and label mate Andre Solomko. Born in Ukraine and based in Finland for a while, Andre Solomko is a rich and engaging personality, but above all, a talented saxophonist, composer and engineer, with contagious passion. Since they met 7 years ago, Andre and Pascal Rioux’s (founder of Favorite Recordings) collaboration resulted in 3 albums and a couple of singles acclaimed internationally. Primarily known for a sound mixing Jazz-Funk, with European Soundtracks, Pop and Soul influences, Andre Solomko’s skills for composition and production are much wider. Almost 2 years ago, he’s therefore demonstrated his versatility when delivering the hot Disco anthem “Le Premier Disco Sans Toi”. This first attempt definitely seduced many DJs and collectors, and it seems Andre enjoyed the trip too and decided to embark for it again with “Recalling You”. For this new single, Andre’s idea was to revive two of his past compositions, tailoring brand new glamorous Disco suit and arrangements for it. Backed again by a close team of musicians and the beautiful and charming vocals of Charlotta Kerbs, the new session was recorded live and analog as usual, and then brilliantly mixed in France by Jordan Kouby at Question de Son studios. It ended with what might be Andre Solomko’s best level of productions and sound so far. To make it short, “I Recall” and “Teasing You” felt in love and had a baby at the nightclub… here comes Recalling You, packed in a 45rpm 12inch vinyl edition and coming with a hot Dub edit by Charles Maurice on B-side.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013’s Hinterland accelerated a progression — he’s since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records — yet, for him, the album cast a shadow of pressure that widened over time. As with most art forms, perhaps especially music, there is an expectation to change, to creatively pivot elsewhere with each project. After careful consideration, Brunner rejects this notion with his new work, opting alternately to use the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word “stillstand,” now presented as Dwell.

“I am coherent with what I do, even if I’m not reinventing myself,” Brunner says contentedly. In regards to the album title, he adds, “It’s like when you’re on a hike and you stop and look at the scenery; you may know which path you want to go next but right now you are dwelling.” The title also doubles as a reference to everyday domestic life, a restorative haven for Brunner between tours. Like Hinterland, he incorporates a subtle range of field recordings to intensify the textural atmosphere. While he worked at home on “Mirror Games,” Brunner noticed the buzz coming from across the room, where his wife was using an electric toothbrush, naturally harmonized with the track. He decided to push that frequency further and record the device directly, syncing vibrations for added urgency across the propulsive piece as well as parts of the ambient “Interlude 2.”

Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere — possibly just a new perspective afforded by being confidently stationary in his craft — it’s by leaning more into hip-hop structures. He’s an avid rap fan and his love for those production techniques is notably present on “Nobilia,” a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), “Interlude 1,” which skitters in lockstep with contemplative synth chords, and “Surface,” an isolatory, ruminative sequence. The closer “Moon Pearl” soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World.

In an era where constant reinvention and highly self-reflexive brand awareness reigns supreme in the music industry, Brunner as Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013's Hinterland accelerated a progression he's since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records. His new album uses the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word "stillstand," now presented as Dwell. Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere - possibly just a new perspective afforded by being confidently stationary in his craft - it's by leaning more into hip-hop structures. He's an avid rap fan and his love for those production techniques is notably present on "Nobilia," a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), "Interlude 1," which skitters in lockstep with contemplative synth chords, and "Surface," an isolatory, ruminative sequence. The closer "Moon Pearl" soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World. Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Dwight Yoakam occupies a singular position in contemporary country. No artist has better balanced mainstream commercial success with
artistic, alt-country credibility, while somehow managing to embody both the music’s most traditional and its most progressive impulses. ‘Blame The Vain’ marked a milestone for Yoakam as his first self-produced effort since splitting with producer / guitarist / bandleader Pete Anderson. Released in 2005 to critical acclaim, ‘Blame The
Vain’ has sold nearly 200,000 records to date. In honour of the 15th Anniversary of this album, New West Records are proud to present ‘Blame The Vain’ on vinyl for the first time.
Gatefold sleeve, 140g vinyl.

Stripped down to the roots, these 13 contemporary new versions of classic Jamaican recordings, originally from the likes of the Trojan and Studio One studios, are triumphantly fresh and channel Jamaica’s rebel music history.
With Rastafari sewn into its sonic seams, Inna De Yard remind us of Jamaica’s vast contribution to popular music around the globe with a cast of golden-generation roots artists whilst introducing a new class of roots-enthused artists from the island.

Following the release of the album is a feature-length Inna De Yard documentary-film directed by Peter Webber (3 Oscar nominations for Girl with a Pearl Earring), set for its UK and international cinema release alongside European tour and summer festival dates including a special beach performance at the music industry Midem Festival in Cannes.

After a sell-out debut tour in France in 2017, the trailblazing quartet of Ken Boothe, Cedric “The Congos” Myton, Kiddus I and Winston McAnuff join forces to front a cross-generational super-group of roots-reggae visionaries, featuring Jamaican vocal trio The Viceroys and Bob Marley backing vocalist and artist Judy Mowatt, as well as Jah9, Var and Derajah, three of Jamaica’s most stirring and spiritually-connected artists on the scene today.

Sound is a potent force that can awaken your purpose and re-balance your spirit. It has the power to relax, as well as inspire you, through the positive therapy of sound vibrations. Elemental Resonance is a trailblazing meditation album where vibrational sound practitioner, Tracie Storey, combines the energy waves made by music, with positive words of love and harmony to produce inner peace, deep relaxation and a higher spiritual connection.

Storey explains “The idea for this album came to me 2 years ago when I was living in Montreal, Canada. I’d been learning to form shapes, textures and colour with sound and going deep within the architecture of my own inner space. These powerful compositions have really helped me on my journey. Creating transformative tools are now part of my life’s work, using the medium of vibrational sound which transcends all boundaries”.

Storey guides you through a series of mindful meditations - each connected to the seven energy chakras - and each supported by sound vibrations, colours to visualise, and positive affirmations to re-balance your entire being and bring you waves of calmness, strength, warmth and joy.

Released on Celestial Being, label boss Felix Buxton (Basement Jaxx), says “I’m thrilled to support this project, everywhere I look people are discovering more about Vibration and how it affects them.
Tracie is leading the way forward for new generations, uncovering more of our potential as humans. This is a great way to switch off the world and switch on to your deeper self.”

Storey has been active as a vibrational sound practitioner, for the past 5 years. Previous to six years training under Master Fabien Maman, who’s one of the world's leading experts on vibrational sound therapy, founder of the Tama-Do Academy.
She also travelled the globe as a DJ on the international dance scene (releasing on Ministry of Sound and producing mixes for the likes of Kiss FM).

When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

“It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

“Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
“I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

“Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

“For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

Hailing from one of the world’s most famous harbours, Rotterdam, a true multicultural melting-pot, the music by 6-piece band called the Greyheads mirrors the daily life of this busy city. They approach jazz from a hip-hop point of view, or hip-hop from a jazz point of view, always carefully adding a perfect dose of other influences (all the members are heavily influenced by artists like Miles Davis, J Dilla, Herbie Hancock and Robert Glasper) with an exciting, groovy and vibrant tone.

After having self-released their debut EP "GREYHEADS × KYTOPIA" in 2017, they recently finished recording "HOMES", their first full length album.

Led by drummer Nello Biasini, this truly international band of like minded musicians was formed in 2016 and have since been busy creating their own, fresh and unique sound. Whether an intimate jazz club or the main stage of a big festival, they are all about creating a feel-good groovy vibe using live rlectronics, drum 'n bass, jazz, hip hop and pop fused together.

GreyHeads performed at NN North Sea Jazz 2019 and several other festivals such as So What's Next Festival, Jazz Delft Festival, Cutting Edge, ProJazz, Big Rivers Festival, as well as opening for the bands Moonchild and Knower.

'Homes' is a journey through space and time, travelling in opposite but jointed paths that lead to the places we call home. The concept of the record is to carry the listener to experience what every place and time can in any way, represent home, characterized by different atmospheres, sounds, images and sensations.

2024 Repress
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.

Secretsundaze return with a second volume of their new mixtape series. After the success of the Joe Claussell tape they turn to Carista for another introspective mix aimed at a relaxed home-listening session.

In May 2018, Carista performed one of her first international gigs at Secretsundaze in London and went on to play 2 other shows for them that year. A year later, she has become a mainstay on the European club & festival circuit, playing to an ever growing, passionate and loyal fanbase week in week out, already playing shows that most DJs would only dream of, including closing a stage at Lowlands festival to an audience of 10000. No wonder a recent Mixmag article crowned her as "A DJ star in the making".

Her residencies on NTS and Red Light Radio showcase her love of house, boogie, broken beat, disco, funk and beyond. Her DJ gigs can also see her explore further into house and techno but this mixtape showcases a different, softer side of Carista blending ambient soundscapes, jazz, dub and soul as well as some poignant words from Nina Simone.

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

Over the years Kid Loco has become a reference in the French electronic music landscape. Firstly, known for being an activist in the French underground music scene, he cofounded Bondage Records in 1982. With Bondage Records, he introduced several bands to the French alternative music scene like Bérurier Noir, Ludwig Von 88 or Washington Dead Cats. Alongside his activity of label manager, he composed and released under the name of Kid Bravo, an experimental music at the crossroads of rock and electronic. Astonished by the beginnings of the instrumental hip-hop of DJ Shadows, Jean-Yves Prieur aka Kid Loco experimented new ways of composing music with the sample technic in his own studio near Orly. This new musical adventure led to the birth of a mini album Blues Project released in 1996 on Yellow Productions.

Exploring further his own psychedelic universe, he released his first album A Grand Love Story in 1997 under the name of Kid Loco. Acclaimed both by the French and international music review, “A Grand Love Story” established itself as an iconic album of the trip-hop and electronic music scene. During the two years following its release, Kid Loco continued to invent his own musical universe nurtured by multiples influences. In 1999, he released Jesus Life For Children Under 12 Inches, an album featuring thirty remixes he composed for French and international artists (Pulp, Talvin Singh etc.) as well as his mixed compilation for the famous DJ KICKS collection released on the German electronic music label, !K7.

After a first European tour, Kid Loco returned to his studio, nicknamed “The Lafayette Velvet Basement” and composed his second album Kill Your Darlings released in 2001. Compared to his previous compositions, Kill Your Darlings features more tracks without sampled vocals. Eager to explore new musical horizons, Kid Loco produced in 2004 the original soundtrack of the American movie The Graffiti Artist directed by James Bolton (Narrative Feature Sound Award – Austin Film Festival 2003). Cruising to new musical galaxies, Kid Loco continued to compose and released the album Party Animals & Disco Biscuits in 2009 followed in 2011 by the album Confessions Of A Belladonna Eater. In addition of his albums, Kid Loco continued to experiment with the production of compilations celebrating the trip-hop music with “Trip-Hop Classics” released in 2010 followed by a second opus released in 2013 on Wagram Music.

2019 marks the return of Kid Loco with his track Here Comes The Munchies selected in the original soundtrack of the show Vernon Subutex (Canal +), the vinyl reedition of his cult album A Grand Love Story and for the first time the digital release of the album Confessions Of A Belladonna Eater with exclusive remixes.

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting.

The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer.

Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

SLEEPERS POETS SCIENTISTS is the compilation of 9 female Georgian artists. It showcases works by Natalie Beridze's students at the CES (Creative Education Studio), where Beridze teaches song-writing and music production. Natalie Beridze is an international well-established artist with releases on Max Ernst, Laboratory Instinct, and Monika Enterprise, through live performances, theatre and movie soundtrack works, as a member of artists collective Goslab, and collaborations with Ryuichi Sakamoto, Thomas Brinkmann, Gudrun Gut, Nikakoi – to name but a few. "This compilation is the backbone of what I try to persuade as a lecturer and as a person, who endlessly loves the music-making process. "Sleepers, Poets, Scientists " is the embodiment of intelligent, benevolent, dedicated, talented and beautiful women, who I believe have a bright future as female composers in Georgia and this album is a significant step towards it."

The retro cover is a nod to the famous group shot from the 1927 Solvay conference, which brought together physicists like Albert Einstein, Erwin Schrödinger, Marie Curie, and others. With this in mind, the name Sleepers, Poets, Scientists rings like a call to action for today's brightest minds, to wake up and save our chaotic, troubled world.

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

In 1975, Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis to demo five original compositions. Known colloquially as “The Cookhouse 5” these recordings showcase a 16-year-old guitar prodigy named Prince Rogers Nelson. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One’s expressive playing style, already evident in his teenaged years.

Now available to international accounts for the first time, now with a direct to board jacket with gold foil stamping. Limited to 300 copies.

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

The latest instalment in the International Black series comes from Lock Eyes representing an unusually versatile EP from the Italian producer, catering to both ecstatic peak time dance-floors with ‘Love$lust” as well as exploring new ground with his own twisted take on the slow motion 90’s Tribal Italia sound on La Guida without betraying his signature sonic universe. Something for everyone here by an artist on the ascendant.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Club Soul are proud to present the first ever reissue of this cult album, now complete with the, previously unreleased, instrumental. It is presented on

180gm heavyweight audiophile vinyl in a single sleeve featuring a Club Soul insert with new sleeve notes.

Dancin’ joins a growing catalogue of premium music on the Club Soul imprint - including crossover hits compilation ‘Shades of Soul’, the ‘All-Dayer’ LP, and

newly compiled albums that celebrate the clubs of the original Northern Soul Scene - ‘The Scene Club’, ‘The Twisted Wheel’, ‘Wigan Casino Soul Club’,

‘Catacombs’ and the forthcoming ‘The Golden Torch’. To the pop buying public Van McCoy is known for his 1975 Grammy Award

chart-topper “The Hustle”, after which he sadly died of a heart attack in 1979 at the age of only 39. To rare soul fans Van McCoy is a hero: THE most prolific

writer and producer of Northern Soul of all time, working with a host of legendary artists including Kendra Spotswood (aka Sandi Sheldon) with whom he had

a five-year relationship. ‘Dancin’ ‘ was originally released by Shelby Singleton in 1976 on his SSS International label, although all the ten original songs were recorded much earlier,

circa 1968-69. With its kitsch cover and out-of-kilter track list, copies soon filtered through to the UK and into the hands of club DJ’s at Wigan Casino with

perhaps “Help Is On The Way” becoming the stand-out track. Richard Searling played the mid-tempo “Just Another Dress Rehearsal” in the latter days of

the club while an unreleased instrumental version of “Ain’t Got No Love” was played post-Wigan from a studio acetate.

Repress!

Wiggle celebrate 25 years and relaunch their iconic label with a releases including co-founders Terry Francis, Nathan Coles and Eddie Richards, as well as artists like D’julz, Silverlining, Mihai Popoviciu, and more.

Wiggle, the brand that gave birth to tech house a sound that would power London’s club music community for over two decades, step out into their 25th year. To mark reaching this remarkable milestone, they plan a special series of international shows and a relaunch of their influential and ground-breaking label.

Taking their lead directly from the acid house movement, Nathan Coles and Terry Francis first brought Wiggle to life through their heady warehouse parties in the early 90s. Unpretentious to their core, these now infamous events were known for their purist values – community and a sound that booms. Finding a kindred spirit in another new face, Eddie Richards became resident from early sets and was a key figure from the off.

Through these now historic events, they embedded themselves deeply into London’s party landscape becoming familiar faces at cultural institution fabric. Heavily based around the core residents they also invited parts of the international and local world from Richie Hawtin, Jay Tripwire, Abe Duque and Colin Dale.

It’s about here we acknowledge Wiggle’s place in originating tech house - working the hard line swagger of techno together with the depth of feeling of house, matching rhythm with bass in a way perfectly aligned with endless hours of hedonism. This potent mix of musical elements is where it began and set down the foundation of London’s rich and active community of DJs, producers and ravers.

The label was founded close to the parties, sourcing tracks from the ever building network of producers who were fuelling this sound evolution. For their 25th birthday you can expect to see the Wiggle imprint coming back in strength - returning to cutting tracks to wax and continuing its legacy for bass fuelled party sounds and pioneering new talent.

2019 will see a series of international shows and a quarterly London party bringing the much loved Wiggle sensibilities and celebrate what they are and have achieved.

Following the reissue of ZiadRahbani's "Abu Ali" album, Wewantsounds is pursue its exploration of great Lebanese music with the reissue of "Wahdon," released in 1978 by legendary Middle Eastern diva Fairuz and recorded during the Abu Ali sessions and including the Lebanese dancefloor cult classic “Al Bostah“. 1978 is a turning point for the Lebanese Diva. The 70s had seen her rise as an international star, playing sold out concerts in the US and in Europe, and appearing on national TV in France. She had had a long-lasting artistic collaboration with her husband AssiRahbani and his brother Elias (aka The Rahbani Brothers) who, together, had penned most of the singer's classics. In 1978, Assi who had suffered a brain haemorrhage in 1972 got weaker and the collaboration finally ended (together with their personal relationship). Their 22 year old son Ziad took over Fairuz's musical reins and set to work on their first album together, "Wahdon" ("Alone"), serving as her mother's producer, composer and musicaldirector. Wahdon typifies this key moment in Fairuz's career when she switched from traditional to more modern arrangements. The first side of the album encapsulates the more traditional side of the singer with such mesmerising songs as "Habaitak Ta Neseet Al Naoum" ("I loved you so much i forgot to sleep") or "Ana Indi Haneen" ("I'm Nostalgic"), filled with gorgeous arabic strings and percussion. The Second side though is a whole different affair. Recorded in Athens at the EMI Greece studio at the same time as the Abu Ali sessions, the two long tracksbrings a hipper, contemporary funk and disco feel that has made the album such a collector's item with DJs and diggers around the world. Clocking at almost nine minutes "Al Bostah" ("The Bus") tells the story a woman in love remembering a bus journey with her lover under a scorching heat, enhanced by an hypnotic uptempofunkified disco beat, while "Wahdon" brings a slower and jazzier underlay to Fairuz's superb singing. These tracks shocked some of the diva's fans at the time but they've since passed the test of time and have become highly sought after. Whadon has since become both aclassic Fairuz album and a cult ZiadRahbani production that Wewantsounds isdelighted to bring to a wider audience for the first time.

I grew up fascinated with the music played late at night on the radio.
As a kid, when times were tough and I couldn't get myself to sleep, I would tune the radio to my favourite FM station and dream on.
This was back in the late 80's and lasted until the mid 90's, a time when I was getting hooked by Hall & Oates, Loose Ends, Maze, S.O.S. Band, Soul II Soul, and other artists that used to rule the dial in the wee hours.
So this music didn't only comfort and nurture me at the time, it also shaped my music personality.

When Renata approached me in order to work on the first ever compilation for Hello Sailor, I knew the selection would end up reflecting this side of me. It had to come from the heart.
It also had to bring to the table something different than what's already associated with Brazilian music, and exploring our own take on the street soul genre sounded good.
It was never done before and it's also faithful to Brazil's musical heritage.

Back in the 80's and into the 90's, it was very common at parties to have a slow dance moment in between the more uptempo sections. A timeout from all the frantic dancing, when people could cool off and flirt in a more romantic way. (It does sound like a great idea to have this intimate just-the-two-of-us moment in the middle of a party; maybe it explains the number of marriages at that time.)
This is a tradition that goes back to the black music balls in the late 70's, which helps to explain why the majority of the early rap acts from Brazil used to have a couple of romantic songs in their albums. When you add to this recipe the power of the mellow pop acts during the aforementioned period, one can realise why it extended its tentacles to deeper depths of pop music in Brazil.

This compilation features some of my favourite music ever, songs that I've crossed paths with in different moments of my life.
Fernanda Abreu, for instance, is a longtime crush - I have been in love with her music since the mid 80's when she used to sing in a band called Blitz, which my mom loved.
Afrodite Se Quiser, on the other hand, created some buzz while the group was active with the minor hit "O Que Que Ela Tem Que Eu Nao Tenho", from their first album (1987), but I didn't know about "Fora de Mim" until 2015. My point is: even if it took me 25 years to find this track, I had a reserved spot in my brain for it and it laid there perfectly as if it innately belonged there.
It's a built memory, and I love playing with this idea when presenting music to people.

Street Soul Brasil is part mellow pop, part R&B, part rap.
One can surely feel a lot of street energy from the B Side. The music reflects the influence of international pop at the time, but it also shows how Brazilians are talented in making any sound their own!

This compilation is supposed to be a mixed collection of songs, something that might trigger the feeling of flipping through an old photo book full of tender memories. These are songs that should speak straight to the heart, music to comfort and heal, music that deals with joy and pain, feelings that I always liked being transmitted through music.
It's among the best forms of therapy. It worked for me and I hope it works for you...

INXS live on the Coffee Break Concert series at the Cleveland Agora on 27th June 1984.

Following the April 1984 release of their fourth album, The Swing, INXS began to make commercial headway outside Australia. They toured relentlessly to promote the album, and had an international hit with Original Sin.
The performance captured here, on 27th June 1984, was part of the WMMS Coffee Break Concert series, a live radio simulcast on 100.7 WMMS in Cleveland. It captures them at the peak of their early game, and is presented here with background notes and images

With more than 220 million cumulated streams in 2013, Poldoore is far to be unknown from international future-beat and hip-hop scenes. His new record, Mosaïc, comes back confirming to be the spearhead of a booming music genre, where beatmakers emerge from the shadows to the light, to assert themselves as artists in their own rights. Coming from Belgium, more precisely Louvain near Bruxelles, Thomas Schillebeeckx began to explore his parents record collection at age 5, when the family moved to the US. Since, the will to combine this musical heritage to his more modern surrounding sounds never left. Because Poldoore music has a credo: assembly the era with sampling, mixing the genres to create a new musical touch.

Since his beginning in 2013, with the album The Days Off, the young musician talents gave him the opportunity to perform for an international tour with famous venues such as Gilles Peterson's Worldwide Festival, Dour Festival, or the giant Tomorrowland. Everything you need to create a huge fanbase, one that never let you down through your musical evolutions. At this stage, Poldoore is already ahead of his time, playing a music focused on the future, making his place among lasting artists by getting to the top sales on Beatport. Six years after, he's still here, more than ever.
The following of his career brings him to Bulgaria, Spain, Turkey, Germany, Greece, and developing remixes for international artists such as Selah Sue, Wax Tailor, Declaime or Talib Kweli.
He is also nominated at the Red Bull Elektropedia Awards in Belgium, for both Album of the Year and Best Newcomer of the year, mostly thanks to the hit: the remix of the classic Fugees song, Fu-Gee-La. Everything to set the stage for his second album, The Days Off in 2016. The natural identity of Poldoore music rings out more than ever, and allows him to sign several projects and EPs on prestigious labels: Chinese Man Records, Nowadays, Cold Busted or Darker Than Wax.
His forthcoming album Mosaïc is a pure exploration of genres. The offbeat hip-hop, beautifully embodied by the track Lessons About Life, the electro-funk with Darts Is Not A Sport, his beloved jamaïcan sounds on A Brand New Day (featuring ASM and Balkan Bump), or the break-electronic on Solace. But it's mainly his unusual ability to give a second groove to 70s soul samples and epic strings, that makes this record truly essential. The whole tracklist is haunted, whether on the excellent Walking Through A Sunlit Forest or on Melatonin, last of the 13 tracks. Always seeking to marry different musical periods, always linking the past and the future. With Mosaïc, Poldoore is not only showing us his talent, but takes the listener through out Time. And isn't it what the music is supposed to do














 

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

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TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

German producers Shuko and The Breed announce joint Westcoast Album "Dippin'"

The collaboration between producers Shuko and The Breed was love at first sight. Thanks to their preference for classic Westcoast sound, they immediately found a common denominator and harmonized excellently during the production. The result is the album "Dippin'", based on the song with the same name by Westcoast legend King Tee, who besides MC Eiht and Benny Sings is also the only rap feature on the instrumental hiphop album. After the song "Life in Los Angeles" with the Westcoast legends, the tune "Cali Sunshine" has officially announced the joint record of the producers, which is available on black gold in addition to the digital release at June 5.

The Breed and Shuko can already look back on a number of prominent productions in Germany and the world. The Breed was mainly responsible for the style-defining sound of Alles or Nix Records and is now mainly the house producer of Plusmacher, but has also built beats for famous German rappers like Olexesh, Haftbefehl or Marteria. Shuko is known in Germany as a producer for Casper, Cro, Farid Bang or Kollegah. Internationally he could already place beats on releases of Cypress Hill, Evidence, The Clipse, Lil Wayne or Nipsey Hussle. But besides their productions for rappers and singers they have always concentrated on their solo careers. Both are very successful in the field of instrumental HipHop and can boast impressive figures in the millions on Spotify. But what unites the two is their love for the Westcoast sound of the 90s. Therefore, they have now joined forces for a project on which they pay homage to classical G-funk, but also create a new modern version of this genre. This album is a tribute to the city of angels and its style-defining sound. The instrumental bangers fit perfectly into the summer and are the perfect soundtrack for sun, beer and BBQ.

ltd to 300 copies

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Almost four decades since it’s domestic release, Karen Marks’ 1981 single Cold Café has finally reaped it’s deserved international credit to become one of Australia’s most recognised minimal wave recordings. Efficient Space now showcases the Melbourne artist’s brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music). A rarity in the then male dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday and Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom’s opening night. Wednesday and Crash would soon dissolve JAB, enlisting Mark Ferry and Sean Kelly to create Models. Still under Mark’s management, Models became one of the fastest rising new bands of the punk movement, playing to full houses of dedicated and frenzied fans everywhere. Sadly, internal frictions forced Wednesday and Marks to leave after two years, with Crash following three months later. Her creative relationship with Wednesday fortified with the co-production of his 1980 machine-pop prank Love By Numbers, her swooning chorus uplifting his deadpan count to 100, before the two collaborated on Marks’ own recording persona. Immortalised by the icy Oz wave of Cold Café, her Astor issued 7″ also boasted the caffeinated flip Won’t Wear It For Long - a should be hit with guitar from future Icehouse member Robert Kretschmer.

'The Loop' is the new LP by Los Angeles based polymath Shafiq Husayn, an epic project which saw its inception in 2012 through a series of studio sessions at Shafiq's home, including collaborations with the likes of Thundercat, Erykah Badu, Flying Lotus, Bilal and Anderson Paak. Amongst a close knit circle of friends and family the golden tones of The Loop were created, deeply rooted in ideas of song, story, history, guidance and spirituality. The album bumps, jumps and jangles through progressions in jazz, hip hop, soul and funk, following on from his debut album 'Shafiq En' A-Free-Ka' and adding further to his rich history of timeless, unique music. On The Loop past, present and future are brought together through a psychedelic concoction of time traveling drum machines, celestial string sections and trails of synthesizer vapour. Inflections of Sly Stone, Pharaoh Sanders and Earth Wind And Fire traverse with Marley Marl and Dilla-esqe drums making for an organic yet LA-trifying experience.

Shafiq has brought together an impressive array of LA's musical royalty, enlisting the likes of Thundercat, Miguel Atwood-Ferguson, Kamasi Washington, Chris 'Daddy' Dave, Eric Rico, Coultrain, Computer Jay, Jimetta Rose, Om'Mas Keith, Kelsey Gonzalez, I-Ced and more to provide the backbone to his recording sessions. Drawing in features from an international cast of performers and artists like Erykah Badu, Robert Glasper, Hiatus Kaiyote, Fatima and Karen Be amongst others. Now complete and finally ready for release in 2019 The Loop is truly something to behold. The records is accompanied by a series of paintings by acclaimed Japanese visual artist Tokio Aoyama, who worked in tandem with Shafiq to create a painting for each song on the record.