Nuevos Lanzamientos Hip-Hop - Novedades

Europe’s leading reggaeton experimenters DJ Clara! And Maoupa Mazzocchetti. exert a tripped-out spin on modern Latin dance and vintage Galician folk styles for Low Jack’s boundary-stepping club division of Editions Gravats. Following the duo’s 2018 debut EP
and Clara!’s ‘Meiga de Acero’ single in 2019 for Les Disques De La Bretagne, ‘Luna Nueva’ binds the duo’s astrological, spiritual and romantic dancefloor cues in a significant new take on Caribbean futurism.

Designed to make you sweat - and maybe check your head -
the album pairs Clara!’s effortlessly nimble vocals with lean and spacious co-production by Maoupa Mazzocchetti in a way that faithfully and daringly plays with reggaeton convention, and, by extension, offers a critique of global electronic dance music currents.

Based in Brussels, Belgium, but originally from northern Spain, Clara! brings a strong knowledge of reggaeton, perreo and trap absorbed from beach parties and clubs back home to a wickedly offset batch of productions by Maoupa, who’s arguably earned a mean reputation in recent years for his killer mixtapes with the PRR! PRR! gang, as well as a slew of 12”s for everyone from Unknown Precept and Mannequin to Arma since 2014.

Together they throw down eight distinctive vocal cuts on disc 1, while disc 2 is loaded with their singular instrumentals. Clara! dispatches ice cool but barbed bars in diverse flows, bewitching Maoupa’s rhythms with on point style in the dramatic ‘Badman’ - a bullet for the male gaze - while layering herself in choral cadence on a spellbinding cover of Faltiquera’s Galician folk song ’Sum Sum’ over unusual tablas and drones...

But while the finer details of Clara!’s pointed but humorous lyrics may be lost on non-Spanish speakers, her co-productions with Mauopa are bound to resonate regardless of tongue, with strong, dare-to-be-different highlights in the hard and psychedelic drive of ‘Gaviléan’ and the bolshy bashment grind of ‘Virgo’, along with straight up freaky gear such as ‘Baja Y Suda’, plus their cold fusion of reggaeton and Mahraganat influences in ‘Secreto Ritual’, and warped hypermodernism in ‘Clarividencia.’ No matter what angle or
language it’s approached from, ‘Luna Nueva’ cycles fresh and luminous with a steadfast yet experimental call to the ‘floor while the world collapses around them.

Seekers and FT team up for a squishy and blasted disc of digital danchall laced madness, two songs in typical mindbending SKRS formation to send out 2019. Wow!

Release already appreciated by Simo Cell, Lawrence Le Doux, Geena/Worldwide Zen, Kemal (Berceuse Héroïque), Clara! (& the Gravats squad), The Social Lover (BAKK), Sagat, Mika Oki, …

On Eternal Children, “forward thinking music group” Equiknoxx, comprising of – (Shanique Marie, Bobby Blackbird, Gavsborg, Kemikal Splash & Time Cow) do something they have never done before: express themselves as a collective.

For the better part of a dancehall decade, producers Gavin “Gavsborg” Blair and Nick “Bobby Blackbird” Deane have created a who’s who list of collaborations including Aidonia, Busy Signal, Masicka, Kabaka Pyramid, Spice, Beenie Man & Missy Elliott; while Jordan “Time Cow” Chung and Gavsborg have scored numerous ‘Album of the Year’ accolades from publications such as FACT, Pitchfork, The FADER, Passion Of The Weiss & Rolling Stone with their Bird Sound Power and Colón Man releases parsed and pieced by Demdike Stare & Jon K for Demdike Stare’s DDS imprint.

Eternal Children however is the result of five (5) creative forces combined to form the group Equiknoxx. Three producer/vocalists (Blair/Chung/Deane) combine with two (2) vocalists: Shanique Marie and Kemikal for a comprehensive family affair. Shanique Marie’s debut EP “Uno” was produced by Gavsborg & Bobby Blackbird while the lyricist Kemikal’s only previous solo foray “Graffiti” was handled exclusively by Chung. Eternal Children represents the synthesis of ideas as the group created the album in typical organic style, recording half of it in a single session at the legendary Anchor studios in Kingston, Jamaica.

The resulting eight track effort is as eclectic as the collective; spanning experimental and classic dancehall, hip hop and even a ballad, all while staying true to the unique sound they have become known for. From abstract sound and astral storytelling from Kemikal and Shanique Marie on the opening track Solomon Is A Cup, the pace jumps several notches on the energetic ode to the borough of Brooklyn. Shanique Marie returns to the dancehall lashing line after line on the Riddim driven Corner and takes the lead once more on a tribute to the city of Manchester (fast becoming a second home to the group). The track also features Swing Ting lyrical heavyweight Fox and was co-produced by the younger brother of Gavsborg: Brent Blair aka Brent Bird.

Side C sees Time Cow on the buttons for Good Sandra complemented by the pen of a witty Kemikal & Gavsborg plus the suave of a cool Shanique Marie. Move Along performed by Shanique Marie & Time Cow is a sub 150bpm belter that was conceptualized somewhere in Eastern Europe prior to an Equiknoxx Live Set. Both tracks are reminiscent of the hard hitting off-kilter rhythms of Bird Sound Power and Colón Man with vocals that could only be delivered by those intimately familiar with the psychedelic offerings. In keeping the family close, longtime Equiknoxx collaborator Alozade makes a feature appearance alongside Kemikal & Gavsborg on the penultimate Grave: a dark assault on the senses. Eternal Children closes with the soothing Rescue Me, a duet with Blackbird and Shanique Marie that occasionally trespasses into a pseudo-pop territory.

Eternal Children represents a new direction for the collective, venturing into parts unknown. They are not totally alone on the journey as several familiar faces were key in the release of the project: Karen Cazabon (Sleeve design), Rub-A-Dub (Distributor), Mothashipp (Mixing) and Nick Sinna (Mastering). The cover art was done by Bobby Blackbird himself. The direction of the entire project would have been an impossible task without the guidance of Balraj Samrai of Swing Ting Records

Brooklyn-based label and sound system collective Dub-Stuy prepares for the summer with a brand new EP alongside Jahdan Blakkamoore, who first appeared on the label’s “Pool Party” single back in 2014 and again in 2017 on Von D’s Wicked Scam EP. This time around Jahdan is front and center, flexing the creativity and versatility that has kept him at the cutting edge of Jamaican music for more than two decades: whether collaborating with hip-hop icons like Smiff-N-Wessun and Snoop Dogg or with global bass providers such as Major Lazer, Liondub and Dutty Artz (who first introduced Jahdan and Dub-Stuy!).

The Linkage EP is a family affair, born after Jahdan and Dub-Stuy connected for a gig in Montreal in December 2018. The energy and vibrations from their performance that night inspired both parties to discuss a new label project. Soon enough, Dub-Stuy had sent Jahdan a pack of dancefloor-minded riddims and beats crafted by in-house producer DJ Madd. Within a few days, Jahdan locked himself up in a studio, writing and recording the five songs that make up the EP in a burst of creativity. Dub-Stuy then enlisted Bay Area based producer Kush Arora to mix the tracks, putting the finishing touches to a showcase of deft songwriting and melody-driven singing that has made Jahdan a favorite of many.

On “Absolutely” and “Properly” Jahdan celebrates the fun and vibes of a good session, switching effortlessly between singing with an irresistible lilt to rapid-fire lyrics against revamps of two timeless dancehall riddims - “Hot Milk” and “African Beat.” The results are surefire party starters! “Sort Out” taps out a syncopated skanking riddim to keep the dance going while the rest of the EP addresses more serious themes with Jahdan reaching for the deeper parts of his range. The hip-hop infused “Round of Applause” reflects on everyday struggles, and the EP’s namesake track “The Linkage” draws for deeper bass as Jahdan calls for unity.

Seanie T is a true veteran of the UK music scene with a jaw dropping discography featuring some of the most important releases in the history of UK Hip-Hop. Consistently tearing up tracks with collaborators such as Roots Manuva, Blak Twang, Rodney P and Estelle, his inimitable vocal style of hip-hop dancehall fusion has won him critical acclaim amongst fans and peers alike. Growing up in the depths of East London, Seanie was drawn in to the world of reggae sound systems at a very early age.

As a youth he followed sounds like Saxon, Coxon and Unity, and DJed with the Ragga Twins on a sound called Unity Hi Power out of North London. A featured vocalist on both Roots Manuva and Blak Twang's debut albums, "Brand New Second Hand" and "Dettwork SouthEast" arguably 2 blueprints for much to follow in UK Hip Hop, he released his debut single "S.O.S (Same Old Sean) in 2001, followed by his legendary "Dark Horizons" mixtapes which featured the cream of UK hip hop artists at the time.

'No idea how to categorise this! I would have called it experimental dancehall but irel.ier who made it says it’s not! Besides i don’t care how you call it - it bangs! When I played it out in Pudel (Hamburg) people were losing their shit and someone screamed in my bleeding ear “MASTERPIECE!!” so let’s just call it that!

We made 300 copies. They feature a beautiful image of your inner ear Haeckelified by some naive AI and the title (gang guan li) skilfully handwritten in Chinese calligraphy on the flip in iridescent colours.'

Low Jack continues to rudely shape the dancehall in his own style with ‘Jingles du
Lieu-dit’ - the sequel to 2018’s ‘Riddims du Lieu-dit’ - packing six innovative mutations
inspired by radio jingles, YouTube dembow megamixes, sound effects and sonic clichés
Picking up where his screwed industrial dancehall edits left off last year, Low Jack racks
up six anti-nuke riddims from the bassbins of Brittany, churning up pendulous grooves in
acres of murky dub space with a patented sleight-of-hand.
Oscillating weightless, dematerialised, and heavily present frequencies, Low Jack turns
the dancehall into a flux of ‘90s ragga duppies and now ting reggaeton, leaving its rugged
structures notably free of vocals but full of characterful samples, idents, and studio elves
that can’t help but connote the artist’s moodily crafty and kinetic style, lying right on the
cusp of darkside and party-ready concerns.
Up in it, he executes a scything re-chop on Richard Browne’s ‘Baddis’ riddim teasing
out its eastern motifs into woozy shapes on ‘More Speed’, whereas ‘Dinner’ exerts a
hypnotic spin on reggaeton’s rub ’n tug rhythms and ’Shell’ spirals headlong into a vortex
of soundsystem ephemera. Down below, meanwhile, ‘Lasers’ finds its range in massively
swollen bass and GRM-like cyberdub dimensions, along with the windswept dancehall of
‘Find Them’ and the outstanding, hydraulic pressure of ‘Wheel.’

Lights-out dancehall voodoo from Dominick Fernow (Prurient) and Low Jack as Rainforest Spiritual Enslavement, following up ‘Red Ants Genesis’ with a potent new 7” - the 1st RSE release outside of Hospital Productions!

After stumping one of 2018’s biggest surprises with their dread-filled collaboration, ‘Red Ants Genesis’, Dominick Fernow and Phillippe Hallais (Low Jack) come to bury the dance in two parts with ‘Venus Flytrap Exotica’.

On the A-side’s noxiously swampy ‘Bridgetown Dub’ they underline mesmerising chants and skeletal drums with enormously powerful electro-dub subs - brought to life in-the-mix by Paul Corley - while lightning and thunder threaten collapsing skies.

The B-side ‘Price To Pay’ follows in bassy suit, but almost shorn of drums and licked with currents of tropical warm air chords.

Powerful spells, strongly recommend to fans of Demdike Stare, Equiknoxx, Shackleton, Burial.

Low Jack and Clara! seal a killer first year for the mutant dancehall series 'Les Disques De La Bretagnes' with this necessary doublepack including their long sold out instalments
for the series, Launched earlier in the year as a sublabel of Editions Gravats, Les Disques De Las Bretagnes has become a go-to home for ruffneck, forward new spins on the Black
Atlantic links between dancehall, reggaeton and electronic music. Now, following Iueke's sold out 'Champion' 12' - as played by Aphex Twin - the label extend a very handy catch up of Low Jack and Clara! y Maoupa's 12's packaged as a 2LP with new sleeve art, Of Honduran heritage and based in France, Low Jack brings a unique sidespin on dancehall templates with his 'Riddims du lieu-dit' LP. Originally one side of a split tape with Equiknoxx for Bokeh Versions, its edits of Industrial obscurities and classic
dancehall made for a rude, refreshing take on '80s and '90s digi-dub and dancehall that sold out within a week. Likewise, Clara! y Maoupa treated reggaeton with a mix of reverence and daring, twisting classic '90s ragga with bumping dembow while also introducing the Spanish artist as a deadly vocalist. Her Ruge is without question one of the deadliest tracks of the year - so good!!!!
100% deadly.















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For half a decade, Doncaster deejay Parly B has been a fixture of the UK and international sound system scene. His first album on Glasgow's Scotch Bonnet Records, Lyrics Spree, builds on 2016's EP 'This Is Digital'. Blessed with a voice as deep as Bounty Killer's, a crowing gimmick reminiscent of the great Dennis Alcapone and a bottomless bag of verbosity, Parly is the complete microphone talker. He rides a shopping trolley load of digital rhythms by likeminded producers - including Danny T & Tradesman, Stalawa, Interrupt and Mungo's Hi Fi - ranging from upbeat celebratory skanks to sweltering body winds. Tracks include the exuberant 80s vibes of the title tune, the brass-driven UK sound of You Mi A Look featuring fellow Mungo's mic man Charlie P, and the moody reality chant Skylark. Lyrics Spree is infectious, verbally dexterous dancehall, spraying lyricism in your direction

2nd EP of the tenebrous parisian boy named Beige, this 5th Global Warming EP goes deeper into our vision of post-apocalyptic club music. It opens with an arid psychedelic jam, lynchesque journey into a never-ending space hole; that comes with a loud dub and primitive remix from Berlin based mate Don't DJ. Then night falls down and strobes starts to flash on a slow hammer tune, blended with ethnic drums and Belgian beat; even weighted down and orientalised by the greats Acid Arab fellas. Not recommended for epileptics.

"The torchbearer for dancehall.' - Billboard.

"One of the great musical wonders of the world.' - The Fader.

'The platonic ideal of a summer party album." - Rolling Stone.

Jamaican superstar Popcaan returns with his long awaited sophomore album, Forever. Popcaan's journey has taken him from a promising young star to the leader of a generation of Jamaican and diaspora artists, a generation that feels their influence reverberate in pop's continuing interest in the sonic signifiers of dancehall. Forever finds Popcaan grappling with his role as an icon of his generation, and finding his place in a pop landscape that he helped shape.

Jamaican superstar Popcaan returns with his long awaited sophomore album, Forever. Popcaan's journey has taken him from a promising young star to the leader of a generation of Jamaican and diaspora artists, a generation that feels their influence reverberate in pop's continuing interest in the sonic signifiers of dancehall. Forever finds Popcaan grappling with his role as an icon

Reggae star, Alborosie's classic album Soul Pirate has been remastered and released as a Deluxe Digipack Edition with bonus tracks, and foldout poster. The Soul Pirate album was the result of Alborosie's 6 years at

Geejam studios in Jamaica and in partnership with local artists. The bonus tracks included are Call Up Jah, Slambam, Streets and Jamaica. Soul Pirate features Alborosie's most well-known tracks, Kingston Town, Herbalist,

Still Blazin' and Rastafari Anthem.

Alborosie is a dynamic talent on the contemporary reggae scene, a singer, songwriter, multi-instrumentalist, producer and engineer. Unbreakable' is his ninth album for the Greensleeves label. His choice of players and vocal features on the album have resulted in a product that amplifies his multiple talents on a new level, delivering strong reggae songs that are solidly commercial. Unbreakable features performances from Aston 'Family Man' Barrett, Tyrone Downie and Junior Marvin of the famed Bob Marley backing band, now called The Wailers United. Plus, vocal features from Beres Hammond, Chronixx, Jah Cure and J Boog

Repress

London's Ghost Writerz are back with a banger! Following a slew of releases on Tru Thoughts and a recent mixtape "Welcome To Ghost Town" heating up the streets, Jimmy Screech and Sleepy Time Ghost return with a big splash on NICE UP! Records. Based around a familiar reggae riddim, the track tells the tale of Jimmy's foundation in soundsystem culture, starting in the 80s and name-checking legends such as Shabba Ranks, Yellowman, Smiley Culture along the way. As the riddim flips we shift forward a generation, 90s dancehall and rap dominate, giving props to hip hop royalty such as Busta Rhymes and 2Pac, then finally firing off a huge jungle climax, dripping in enough amen breaks to set the dancefloor alight whilst giving a little history of the musical heritage behind Ghost Writerz.

"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!

Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.

For Fans Of: Major Lazer, Dj Shadow, Kevin Yost

Hot On The Heels Of The First New Album From The Last Poets In Over 20 Years, The Title Track "understand What Black Is" Gets The Remix Treatment From Digital Mystikz, Dmz And Deep Medi Legend "mala" And Uk Dance Music Innovators And Legends "dego And Kaidi Tatham".

Soul Jazz Records are releasing this new 10th anniversary 2017 edition of their classic album 'Dancehall - The Rise of Jamaican Dancehall Culture'. This long-out-of-print collection is now available as a triple-vinyl edition and double CD pack.

The album is a lightning-flash collection of all-time classic and definitive dancehall classics as well as a stellar selection of more obscure tracks. Featuring Yellowman, Tenor Saw, Sister Nancy, Ini Kamoze, Chaka Demus & Pliers, Michigan & Smiley, Super Cat, Cutty Ranks, Eek-A-Mouse, Gregory Isaacs and more, this album features non-stop floor-filling party tune rockers throughout!

Dancehall is released to coincide with the new 2017 edition of the stunning 400+ photos deluxe coffee table book 'Dancehall - The Rise of Jamaican Dancehall Culture', featuring Beth Lesser's amazing Dancehall photography (also newly published by Soul Jazz Records). This book has become the definitive cultural reference book for Jamaican dancehall and features hundreds of killer photographs, extensive text and interviews with many of the artists.

'A vibrant anthology of all that mattered: the sound systems, studios, producers, singers and deejays.' The Guardian

Creeping Out Of Torino's Longest Dark Winter Nights, Isolated And Shrouded In Mystery Just Like The Cities' Deep Connection To Black Magic, Here Comes Sabasaba, The Newest Addition To The Maple Death Family. Western Esotericism Converting Pagan Mystic's One By One!

The Trio Of Tommaso Bonfilio (tape Loops, Drum Machine, Organ), Andrea Marini (electronics, Flute, Guitar, Bells) And Gabriele Maggiorotto (drums, Percussion, Effects) Is A Rare Beast, Night Phantoms Embarking On A Digital Dust Adventure Set In A World Punctuated By Ballard's Dreams And William Gibson's Visions. Sabasaba's Self-titled Debut Is An Industrial Cinematic Dub Scorcher That Is Not Afraid To Mix Dark Isolationist Off-kilter Machines, Tape Recorders And The Earthy Beat Of Primordial Dancehall Dub Productions (king Tubby, Horace Andy). Album Opener Bells Sets The Tone Right Away, A Pulsating Horror Tempo And Crowley Cadence Symbolically Uniting The Disques Ocora Catalogue And The Ambient Droning Of Nurse With Wound. Magma Is A Witch March Advancing Slowly Into Kosmische Lands, Drops Is An Opium Induced Hyper Dub Ballad Where African Head Charge's Sun Is Eclipsed By Coil's Black Moon. Peradam Inspired By René Daumal's 'mount Analogue' Ascends And Weaves Ideally Upstream Across The Po River While Red Nights Sees Italian Occult Legends And Co-conspirators Father Murphy Spreading Their Cathartic Chanting. Eden - Olympia Is The Perfect Closer, A Calming Distant Tribe Of Percolating Bells Awakening The Spirit.

This Is Not Wishy-washy Psychedelic Music, This Is The Real Deal, A Voyage Into Mind Alteration Through Sound, A Chariot Proceeding East, West And Everywhere In Between, Hands Turning Digital Knobs, Feet Raising Dust And Grain While The Heart Beats Analog To The Pulse Of Mother Earth.

By the 1970's Studio One and Clement 'Sir Coxsone' Dodd had already proved himself to be the defining force in Reggae for almost two decades. From running the Downbeat sound system on the lawns and yards of Kingston in the late 1950's to opening Studio One at 13 Brentford Road at the start of the 1960's, ushering in Ska and Rocksteady and establishing the careers of most of Jamaica's artists - everyone from Bob Marley and The Wailers, Ken Boothe, Toots and The Maytals, The Skatalites, Jackie Mittoo and more - Clement Dodd had until this point dominated the Jamaican musical world.

And yet, incredibly, Clement Dodd was barely half way through his musical path, maintaining Studio One's number one position in the Jamaican music scene throughout the 1970's with a combination of musical and creative innovation and an endless capacity to adapt and create new musical fashions. By the end of the 1970's Dancehall had become the defining sound on the island. Dancehall was essentially a tribute by other Jamaican producers and artists to the classic music of Studio One created in the 1960's as young artists across the island created new songs, while musicians recreated these original classic foundation Studio One rhythms. As on other occasions, Clement Dodd rose to this new musical challenge by producing a whole new era of classics for Studio One.

The roots of Dancehall begin with the DJs of the early 1970s, who were the first to sing new material over earlier classic rhythms. Early DJ pioneers such as Dillinger and Prince Jazzbo both feature here toasting over classic songs - The Mad Lad's Ten to One and The Eternals' Queen of the Minstrel. But it is the new wave of artists who arrived at Studio One at the onset of Dancehall which enabled Studio One to maintain it's number one status as the whole of Kingston's rival music producers - Channel One, Joe Gibbs and many others - attempted to challenge this position.

Sugar Minott, Michigan and Smiley, Willie Williams, Lone Ranger had all grown up listening to the classic Studio One music of the 1960s and were able to pay the greatest compliment to the label by creating the defining new music of this new era with songs that combined all the musical and technological developments of the 1970's - dub, deejaying, discomixes, syndrums, synthesizers and more - into the sound of the future: Dancehall.

Throughout this era Clement Dodd also continued to work with a number of original and returning artists - such as Alton Ellis, Horace Andy, Freddie McGregor, Johnny Osbourne - updating old rhythms and creating new ones while employing the in-house band variously known as The Brentford All-Stars/Rockers/Disco Set to update these sounds in order to maintain Studio One's number one position as the defining force in Reggae.

This is Soul Jazz Records' latest new collection of classic and rare Studio One recordings and is released on triple LP (+ download code), deluxe CD and digital album.

Deadly styles we've got many, deadly vibes we've got plenty...
45 Live is proud to welcome the new record 'Ready', a masterclass to mash up yer dance from club dub doyens The Nextmen, featuring badass Bristol babe Eva Lazarus (Mungo's HiFi/Gentlemen's Dub Club), the goddess with the golden pipes.
'Ready' is a sweet slice of dancehall that feels tightly sprung, with songbird Eva Lazarus rolling on the rhythms' rise from sweaty and soulful to saucy, priapic pop. You will want to wiggle. This joint feels infectious.
Much loved music makers The Nextmen have been busy twiddling knobs and working wires purely for people's pleasure over two decades deep, having worked with everyone from Public Enemy, Wilkinson, The Pharcyde, Ms Dynamite, Groove Armada, Plan B, Chali 2na, Tippa Irie, Cutty Ranks and a million more.
Good. Grooves.
Crate diggers quickly quickly, make it snappy to make Daddy happy, this limited edition 45 release is exclusively vinyl only.
Pressed loud on 45.
'Ready'. The whole room knows it's on...

Pure Singeli fiyah from Tanzania's febrile Dar Es Salaam underground, showcasing the punkish sounds of the Sisso Records studio with a belter volley of hi-velocity missiles for Kampala, Uganda's Nyege Nyege Tapes. Hitting frenetic levels of velocity comparable with full on Soca or Shangaan Electro styles as much as Northern British takes on happy hardcore and Makina, trust there's no messing about with this one.
For us, like many others, we'd imagine, this is a bracing first introduction to the Singeli sound, whose collision of souped up rhythmic energy and breathless bars should immediately translate far beyond its east African base. Across the 14 tracks of Sounds Of Sisso we're familiarised with the sound's core producers - Bwax, Sisso, Tampa Pana and Yung Keyz Morento - and its amazing fast chat MCs - Dogo Niga and Makavelli - with a totally uncompromising style that can't help but make most other dance musics sound a bit pale and limp by comparison.
No matter where you're from, this is patently music for raving to, combining punkish, satirical lyrics about the challenges of Tanzania's youth - from police corruption to dating when you're broke - with productions that scream get mad get mad in a way that's maybe best associated with hedonistic noise or gabber. However, this is from Dar Es Slaam, and they've got some heavy style down there.
From the near cheek-pulling G-force of Bwax and S Kide's Baba Aminata Natafuta Kiki to the mental, cut-up intro and rapido attack of TMK by Suma, nobody lets the pressure gauge tick below f**king off it, pal, taking in the chipmunked Bollywood chorus and speecore pace of Dogo Niga's Polisi and the Shangaan/Soca-like hybrid Mshamba wa Kideo from Mzee + Bwax or the Nu Monkey-on-tour styles of Kimbau Mbau along with the Nkisi-esque jag of Maseke, Pasopa and Mako_Roho's Inauma. But, there are also some sweeter and hip hop styled freaks, too; check for the warped hip hop knock of Nammiliki from Makavelli, or the sugar-rush of Csso's Shobo and the hyper colourful soundsystem FX of Ndugulawama.Unmissable!

The special edition 7' release of Protoje's hit single 'Blood Money' features the original track, an exclusive Gregory Morris' dub mix, and is pressed on blood red vinyl.
The song lyrics provide hard-hitting, raw and unapologetic commentary on the current state of Jamaica, touching on several
recent grievances and social injustices that have afflicted Jamaican society.
Protoje masterfully describes the air of discrimination, classism, and oppression prevalent in the Jamaican political landscape, calling out corrupt practices, and conveys the meaningful message to his audience of awareness, activism and the need to call for change and accountability.
This message has been championed across the world, with 'Blood Money' becoming a firm favourite with both reggae fans, as well as those outside of the scene. 

A bit of an emotional moment for us - this much needed repress of one of our very favourite slabs of vinyl that have passed through these doors over the years. Exploring the very outer limits of dancehall and techy D&B, both sides writhe and snarl at 90bpm, beating you over the head with pressure cooked kick drums, drop forged snares and, those ugly, ugly mentasms. Upon it's original release, it was a challenging and very rewarding record - one that had DJs scratching their heads, dancers demanding wheelups and, more recently - more than a few emails from people asking if there were any copies left stashed away. Both side's disregard for genres and conventions mean this plate sounds just as fresh now as it did upon it's original release date - arguably it's better stationed for tactical deployment now than it was back in 2013 - The current crop of stripped back dancehall (and halftime D&B that has been undoubtedly informed by it) are in rude health and prime for disruption with this record. That said, regardless of which styles you play - this is one of those wildcard riddims that can be used at peak time to wreak havoc on any dancefloor. Blacklabel, sticker sealed pressure, with a yellow paper insert of the original artwork. One of those records you'll pull off the shelf in years to come, no doubt about it. Edition of 300, with insert and stickered centre labels.