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More heat from OTE on their fifth release featuring reworks of two highly sought after afro gems. TIP!

Edits Collection debut release with Detroit based Peter Croce (Razor N Tape, Rocksteady Disco).

Quartier Groove Records releases its first EP “Ritmo del Barrio” that features two club weapons from the Spanish electronic music vaults of the 90s, TYU’s remix of Bravo & Dj’s 1989 one-hit wonder “Difacil Rap”, and Richard Fribert’s rework of the early electronic rumba track “Sueño Almohade” by Sombra y Luz. Both tracks have been licensed and agreed with the original labels and writers, and will be limited to 300 copies.

On the a-side, an edgy club revision of a 90s hip-house track that was originally written by a group of DJs compelling us to join them for a wild night out. TYU’s remix, that only makes use of the rad rapapella, makes a perfect match to the daring call and takes us to a 90s rave of today in full style, with its bold drums, slappy snares, trancy synths and road-paving bassline.

The flip comes with Richard Fribert’s powerful and fearless hi-NRG rework of the experimental rumba song “Sueño Almohade” by Sombra y Luz, a track that makes a clear flirt with the history of Spain, a country that was once the Muslim ruled area of “Al-Andalus”. Spanish passion meets Arabic mystique in this hard, slamming, acid ride of an update. The result, a DJ weapon to be reckoned with.

The two tracks comes together to form Ritmo del Barrio EP, “Quartier Groove” in Spanish, the project by label heads Richard Fribert & MOQST that was designed to encourage listeners to search for more unknown and forgotten music in the most unexpected of corners of the world.

Red Vinyl

A much welcome to a new Italian job...Colpo grosso is here with an uplifting double sider of disco magic.

Things up with a piece of disco house that is designed to feed your mind as much as for your feet.

LP + BOOK!

For most of the 20th century, Portugal's economy has relied on fishery and an exploitative canning industry arising from it. To endure their hardship and coordinate their work, fishermen sang. Leva Leva: Litany of the Portuguese fishermen documents this particular culture of the Portuguese coast, through a vinyl compilation containing undisclosed original recordings of fishermen’s songs and contemporary compositions by artists Filipa Cordeiro, Joăo Pais Filipe, Nandele, Romain Baudoin and S1m0nc3ll0. Alongside the record, the project features a detailed art book (Portuguese – French) (not available through wholesale). The volume gives a voice to artists, writers, witnesses and experts, all invited to reflect upon the question of this culture and the rapid transformation it experienced.

Completing a trilogy of reissues from the Indipop label, Emotional Rescue celebrates its 10th Anniversary by looking again at the ground-breaking music of Steve Coe and his label.

Founding Indipop in 1981 to debut the single of his new project, Monsoon and the soon to be hit 'Ever So Lonely' that brought to the world (dance) music stage the singing talents of young actress and vocalist, Sheila Chandra.

Having worked with Steve right at the start of Emotional Rescue, it's fantastic his special mix of Indian Classical and Dance Pop under the spotlight once more, highlighting his role in helping to kick start the 1980s huge interest in world music, while achieving considerable commercial success and cross-appeal.

The reissues of The Ganges Orchestra's The Dream (ERC010) and Jhalib's Mysteries Of The East (ERC029) were tinged with sadness as both Steve and John (Jhalib) passed shortly after each was released. Working with Sheila Chandra over a number of years, the idea to bring the sole East-West release back has been a long labour of love.

Only ever released as a white label promo in 1984, the reasons the song remained a mega rarity have been lost over-time; however, its sheer scarcity means it now trades for dizzying sums. Appearing later on compilations, here at last is the first-time full reissue of the Club and Dub Mixes, plus a long-form remix in 2 parts, by label honcho Chuggy.
Possibly the most song based of Steve's projects working away from Sheila, he again teams up with Martin Smith to work with unknown vocalist Usha on what became an unfinished band project idea. Presented in Club Mix, they craft a one-off, uplifting sitar and bass heavy 80s disco-inspired "Klab hit", as well as the instrumental focused Dub Mix that accentuates the sitar play for a slower and steady build.
As this project was painstakingly formed, the B side remix took shape, diving in to the studio with label affiliate DanyTyler (Idjut Boys / NAD), rearranging the best of both mixes, extending and dubbing over 12 minutes of Indian Classical meets 80s Psychedelic clubland Ecstasy and is presented alongside a digital only bonus long Dub for the more nuanced minds.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

Time to Play Records is back on track with a new ep destined to warm the hearts of house lovers. Filippo Tazzer, label manager and executive producer, continues in his spasmodic search for underrated talents, enhancing his talent, musical sensitivity and evident production skills. After having entrusted the baptism of the label to Reekee, the moment is propitious to introduce another Italian, Colosimo, to the scene with quality work that embraces different spheres of contemporary electronics.

Shosin, the track that gives the ep its title, is a low-speed train that contaminates electro and deep and develops, between breathtaking pauses and thunderous returns, through new wave rhythms.

Formalaita, then, brings out the most introspective part of Colosimo: slow pace, very full-bodied basses, hypnotic arpeggios, melancholic strings. A sort of genuine and not haughty reference to Larry Heard’s Alien masterpiece.

Cratera closes Colosimo’s work by releasing a contagious energy made of dreamy house, Latin references and harmonies that refer to Caribbean atmospheres.

Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years with an expanded Detroit jazz brass section was shelved for decades to follow. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his self-titled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.” Epitomising this outlook, album opener ‘Afra Jum’ deploys a melody based on Haitian, African and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of afro-cuban inspired percussion.

The sequel Mora II was recorded shortly after with an expanded line up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ and Wendell Harrison. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter ‘Amazona’, led by the rich vocals of Francisco’s wife Teresa Mora. The ‘Afra Jum’ concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum, but only now has it been given the high quality vinyl treatment it so deserves, presented as the sequel to Mora! as originally intended.

Through the 90s and into the the 21st century Mora would continue his Pan-American explorations, moving toward a more electronic afro-futurist direction as part of Detroit techno pioneer Carl Craig’s Innerzone Orchestra. Mora also worked with Carl Craig, moog synth wizard Craig Taborn, and his former Arkestra colleague, the legendary Marshall Allen, to form the Innerzone Orchestra spin-off Outerzone, released in 2007 on Premier Cru Records. Mora I & II will be out as two vinyl LPs, CD and digitally 16th April 2021.

Illegal Jazz Vol. 2 was a strictly limited edition and now finally 2.1 is ready to see the world!
4 Disco-Jazz-Funk from the 70ies reworked by Delfonic & Kapote.

"This fabled 11 minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams and Mike Manieri. In anticipation of the monumental forthcoming Natureza album release via Far Out Recordings, this astonishing version of a true classic gets it's first proper 12" release for Record Store Day 2022. In the spirit of making the release special for RSD, rather than make it a single sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side."

The Remix Machine has been pumping through Nickodemus’ studio since the late 90’s with over 100 remixes as far & wide. In this special vinyl selection of 8 remixes, Nickodemus chose some rare unreleased on vinyl remixes including Preservation Hall Jazz Band uptempo driving Jazz stomper, to the funky afro-latin dance-floor main stays of Gabriele Poso, Pernett & Vieux Farka Toure afro-latin mid tempo sure-shots, to the Colombian dubbed out Empresarios, Quantic & Atropolis.

Here we have 4 songs on each side, a very limited edition for the DJ’s & vinyl collectors.

Spun Out Agency is honoured to present ‘More of that Frightful Oompty Boompty Music’, a compilation dedicated to the Guv’nor himself Mr Andrew Weatherall who should need no introduction on these pages. Released on vinyl in two beautiful parts, the first drops on April 15th with the second following two weeks after.

‘More of that Frightful Oompty Boompty Music’ (yes we are going to write that out every time we talk about it in this communique) showcases a selection of the shining greatness from the agency’s roster. Paranoid London, Fantastic Twins, Mehmet Aslan, Autarkic, Ruf Dug, Sean Johnston, and Manfredas gift exclusive tracks which highlight the sublime acid, techno and house sound that Weatherall would have described as “oopmty-boompty” music.

Spun Out is a London-based artist booking agency which has been run by Caroline Hayes for over 20 splendid years, that looked after the life and times of Andrew Weatherall alongside his partnership with Sean Johnston under their A Love From Outer Space moniker, and the likes of Optimo (Espacio), Ivan Smagghe, Josh Caffe, Man Power, Body Hammer, Kiara Scuro and many more artists, doing it differently.

Kicking off the A-side of the first record is Hardway Bros’ (aka Sean Johnston) previously unreleased remix of We Are The Axis by The Asphodells, the duo consisting of the Andrew Weatherall and former Battant member and Spun Out talent Timothy J. Fairplay. An energetic techno stomper with percussive rhythms, this exclusive remix offers the ideal tantalising dose to tease any dancefloor. The vocals and synth layers give it a punk rock approach, referencing the multi-genre essence of Weatherall’s taste in music.

Tel-Aviv-based Autarkic’s Sleepover closes the A-side with a chuggy lullaby, one that is certainly unsuitable for putting a baby to bed, given its intricate acid lines of total hypnosis. Following on the B-side is Manctalo Banger, a house bop by the Manchester-via-Ibiza computer game nerd and vinyl digger Ruf Dug, and Shizowaves, Turkish-born Basel-based Mehmet Aslan’s soulful touch to the compilation, bringing Middle-Eastern percussive melodies and catchy basslines.

The second record is introduced by Paranoid London, with a Spun Out dedicated acid techno banger appropriately titled Spinning Out and Fantastic Twins’ EBM track Kali’s Tongue Was A Weapon. On the B-side is Lithuanian chug legend Manfredas’ Hfuhruhurr, and Naum Gabo, who closes the compilation with the chaotic analogue-synth frenzy, Cold Sold. The name Naum Gabo may evoke the pioneer of Russian constructivism, who rose to fame thanks to his crazy kinetic sculptures. However, here it manifests as one half of Spun Out’s Optimo duo Jonnie Wilkes (JG Wikes) and James Savage. The duo’s impeccable manipulation of electronic hardware couldn’t give a better homage to him.

Some highlights for Spun Out artists this summer include 9 acts from the roster playing at Houghton Festival, Paranoid London’s show at Sonar Festival, Love International Festival and Ransom Note’s festival with Optimo Watching Trees.

Afterclapp is a creative metamorphosis of music producer and DJ Rodrigo Vellutini, driven by his long-standing desire to test boundaries between musical styles. Exploring the infinite possibilities of Brazilian music by mixing it with unusual rhythms and sound elements.

Two Slovak guys, Filip and Tomas, half a world apart, connect Prague synthesis through Filip, with melodic elements that unlock the connection with Miami based Tomas, who feeds in the Spanish laced, sinuous South American percussion grooves and synth bass lines. After years of creating concurrently, their blood bond remains strong through reverberations of rhythmic frequencies. This EP arrives as a purely underground record in limited edition as proof of their enthusiasm and heritage to the art of electronic music. The EP features a track with Sensoreal, the avant-garde mentor and head of the Slovakian electronic music scene.

"Luz da Joaca" is a track taken from S-Tone Inc. latest full-length "Onda", here retreated by the magic touch of Maestro Gerardo Frisina with his unique taste. A musical journey in two different movements, both in a Batucada style: the A-side exalts the original melody sung by Toco, while the B-side is a dub rhythm-focused version especially made for a DJ use. Once again Mr. Frisina gives us a sample of his skills as an affirmed producer and longtime collaborator of Schema Records!

Blair French returns to Rocksteady Disco with an EP of pan-African dance floor heat. Picking up from where he left off with his The Art Of Us LP and his recent Razor-N-Tape EP, this 3-tracker sounds like being happily lost in a hot jungle. Tons of drums, chants, flutes, and basslines for the finest parties. Limited vinyl pressing, don’t sleep.

Music written and produced by Blair French
Pressed at Archer in Detroit
Mastered by Pontchartrain

Lex first grabbed our attention following his brilliant release on B2 Recordings which became a staple vibe setter in Jimpster’s DJ sets and Sofa Sessions streams in 2021. Gaining his deep musical knowledge through his own revered record store Radical Soundz, the Greek DJ and producer has been immersed in dance music for over 20 years and considered one of the key figures in the Athens underground house scene. With releases and remixes on labels such as Leng, Samosa, King Street and Black Riot, Lex is making waves internationally with a unique sound that fuses live elements and expansive arrangements taking influence from masters such as Ron Trent but adding a warm, cosmic glow. Fellow Greek artist Locke joins pro- ceedings for this EP bringing his own psychedelic sound garnered from his years playing crazy events taking in South American jungle parties, burning hot African desert raves, the underground clubs of Berlin to the sparkling coastal shores of Baja California. Locke is more than just a DJ. He is a connector, educator and traveler whose soulful music has the crowds chasing the sun as he brings love and celebra- tion to the events he plays.

On title track 7 Day Path we’re treated to a beautiful spacious jam which unfolds across 7 minutes, driving, live percussion keeping the energy high whilst Herbie- esque synth leads help to create a beautifully paced and dynamic arrangement.

Next up we have Italian legend DJ Rocca onboard for a remix of 7 Day Path. The prolific producer and DJ has been a tour de force since the late 90’s collaborating with the likes of Howie B, Dimitri From Paris, Chris Coco, Daniele Baldelli and Jazzanova producing singles, remixes and albums for labels such as Sonar Kollekt- iv, Compost, Classic, Rekids, Futureboogie, !K7, Tirk, International Feel, Defected, Rotters Golf Club and Faze Action Recordings. Here he adds his trademark dubby disco wiggle pushing the original in a jazzy direction with live flute. Definitely one to be heard under the stars on a Croatian beach for maximum Adriatica effect!

Flipping over, things head deeper and darker with See No Ball featuring Locomot- ives, a more straight-up heads-down stripped back club jam with a repeated vocal, funky guitar chops and a smattering of improvised synth and Hammond B3 keeping things jazzy and musical.

Closing out this brilliant EP we have Catch Up With The Sun which drops the BPM’s for a low-slung cosmic jam loaded with good vibes.

Hear & Now’s 2018 debut album Aurora Baleare was undoubtedly one of the most magical full-length excursions to appear on Claremont 56 to date; a drowsy, mood-enhancing masterpiece full to bursting with tactile grooves, blissful guitar motifs, dreamy aural textures and seductive, slow-burn melodies. The culmination of two years of work by longtime friends Ricky L and Marco Radicioni – a pair of experienced deep house producers whose solo careers stretch back to the 1990s – the album was as finely crafted as it was musically stunning.

Two years on, the pair return to Claremont 56 with the hotly anticipated follow-up, Alba Sol, a similarly seductive and sun-kissed set that is every bit as beguiling as its lauded predecessor. Once again built around the pair’s trademark blend of colourful synthesizer melodies, ear-catching improvised guitar motifs, soft-touch grooves, enveloping chords and fireside-warm bass, the set’s eight tracks are vivid, vibrant and as memorable as watching the sun rise over the Mediterranean or Adriatic seas. This time round, listeners can expect a few more nods towards the kind of glassy-eyed ‘dream house’ that was once one of Italian dance music’s greatest exports – think Don Carlos, Sueno Latino, Keytronics Ensemble etc. – and synthesizer-heavy 1980s new age ambience, though the duo’s trademark sonic template is evident throughout.

These influences can clearly be heard on “Larus”, where jangling piano riffs, mid-80s new age synths and cascading David Gilmour style guitar solos rise above thickset chords and sparse beats, the eyes-closed, arpeggio-driven goodness of “Acqua Tronica” – which also features some of Marco’s funkiest guitar playing to date – and the head-nodding haziness of “Danza Delle Onde”. They’re there, too, within the mid-tempo rush of “Litorale”, an emotive and life-affirming mixture of metronomic beats, fluid piano solos, retro-futurist synths, locked-in bass and pads so sumptuous you almost want to reach out and grab them. While the subtle evolution of the duo’s sound is evident throughout, Alba Sol also contains a swathe of tracks that echo the slow-motion hedonism of their earlier work. Closing cut “Pioggia Sil Mare”, for example, is a beguiling and brilliant foray into kaleidoscopic ambient house territory rich in in slowly unfurling musical motifs, while “Polvese” chugs along on waves of stretched-out electric guitar notes, echoing percussion hits and the sort of stoned bass that was such a feature of Aurora Baleare.

Then there’s the album-opening title track, a gloriously epic, joyously blissful number that first wowed listeners on the recent Claremont Editions One compilation and already feels like a downtempo classic. It brilliantly sets the tone for a sophomore set that’s arguably even more wonderful than its stunning predecessor.

Côco Do Macaco is the second Maxi Single of the Golden Records series from upcoming album by Sócrates E As Garotas, 40 years after the monkey party album. La Matta Records tries to bring you back into the world of Brazilian jazz/funk rhythm, adding an increiblde extended mix and a disco flue version for the club. This track is packed with high spirit, contagious happiness and contains and excellent production, also thanks to the participation of Orlandivo and Lincold Olivetti. An all-time classis on dancefloors!

The debut album by the Italian Massimo Napoli aka Galathea received excellent critical acclaim and demonstrated how the artist was able to create an interesting and balanced blend of musical genres with an Afro / Tropical electronic atmosphere. “Samba de Sausalito” is a song composed by the Nicaraguan percussionist Chose “Chepito” Areas, famous all over the world thanks to the version of the guitarist Carlos Santana published in 1973 on the album Welcome.

This new single released on Space Echo Records contains two particular versions. The first, proposed by Galathea, maintains the typical carioca colors of the original version with the addition of hypnotic and futuristic sounds, making it a perfect modern dancefloor anthem.

The second consists of a rework of the first version, by The Invisible Session – further percussive elements are added to the already full-bodied mix, embellished with an exclusive live drum solo in the studio – between samba, afro and jazz-rock, for a explosive result that will appeal to lovers and DJs.

After his stellar 'Stride EP' release (FACES 1210) and his latest offering 'Late Night Blue Sound EP' (on the UK's City Fly's Records/ featuring Andrés remix), Japanese deep house king- Kez YM is back on FACES Records!
Bringing delicious beatdown flavors to the cooking pot that blends Kazuki Yamaguchi into a serving of signature recipe Kez YM.

With ongoing support from influential peers such as Moodymann, Theo Parrish, Rick Wade & Cassy, this is one delicious treat that will leave the fans salivating for more.

His reputation extends beyond his delicious creations, as one of the standout Japanese House Djs currently holding it down in his hometown and Europe.
Mixing ingredients from Detroit, Chicago House, Funk, Disco & Afro and endlessly rocking dance floors and hearts from Panorama Bar in Berlin to Eleven in Tokyo.
The 'Root Bound' EP journeys beyond his past offerings, fresh ingredients and mouth watering grooves, with a sprinkle of that typical Kez YM signature sound!

Blue Vinyl

We are so happy to bring you another (the 2nd) Double 7 Inch with 4 smooth, funky Brasilian Edits by our long time TSTD family member Vibes4YourSoul!
Too Slow To Disco regulars will remember his name from several relases so far: his standout remix for L'impératrice on the "TSTD - En France" compilation, his remix for Poolside from "The Sunset Manifesto", his edits on all 5 Yacht Disco Edit compialtions, and the quickly sold out double 7 inch with Edits we released in 2020.
He is one of the crème of new reworkers and edit-producers, that have specialized in those soulful, smooth slow jams and midtempo tracks, that Djs all love for their warm up sets.
Vibes4YourSoul (aka V4YS) is a Parisian DJ and producer whose musical universe blends together elements of disco, rare groove, afro-latin and soulful indie, with the deeper edge of contemporary house and nudisco sounds. The four reworks on this Double 7 Inch take you on a colorful trip to Brasil, held together by Vibes4YourSoul's lush, mellow and funky production:

Fruit of a long and passionate digging experience, his DJ sets are eclectic journeys through times and styles, with groove as a common thread.
A member of Yuksek's Partyfine label crew, he's regularly revisiting old or contemporary tracks through edits and remixes, widely shared and played by numerous DJs.

Recent official releases include an original track for Cookie Records second compilation, an exclusive edit Partyfine's compilation "re-cover", an official remix for French pop band L'Impératrice on Berlin label HDYA?City Slang, and several funky edits for NYC nudisco weblabel Noc Boots.

After a first successful landing in mid-pandemic times, the Funky Shirts crew is back with a freshly cooked serving. ‘U Hold A Spatial Place In My Shirt’ EP is a recollection of memories from the Funkew’s galactic trips and their friendly encounters with space pirates Herr Krank, Deborah Aime La Bagarre, Adria and a funknown criminal who shall remain anonymous.

A1 is a rocket launcher. A2 is a psychedelic comet. A3 is…. a surprise ;) B1 is a felon. B2 is a giant star. B3 is a black hole.

Disclaimer: The possession of FUNKYSHIRTS002 is highly illegal in most countries of planet Earfunk due to its unknown spatial origins and high MZN concentrations. We therefore recommend extreme discretion when deploying this piece of wax.

PLAY AT YOUR OWN RISK.

Recorded in Novalima´s home studio in Lima, their album "Karimba" (hot iron used to mark the cattle, as well as the slaves) takes novalima music into new levels, introducing both new sounds and traditional rhythms like the Panalivio, Zamacueca, Ingá and Tondero, while maintaining their distinctive afro and dub sound. Their reputation at home allowed them to work with two of the top traditional musicians in the city in what would be their last recorded performance: vocalists Pepe Vasquez, Rosita Guzman, and Sofia Buitron as well as guitarists Roberto Arguedas and Felix Casaverde (former guitarist of chabuca Granda), in addition to members of the live band. For the worldwide release of Karimba, Novalima partnered with USA-based ESL Records (Thievery Corporation, Nickodemus), an ad-hoc home for their fusion of traditional and future sounds. Karimba (ESL Music) has garnered astounding press accolades from NPR, Giant Step, Nat Geo Music and more, while also topping the iTunes World Music Chart and cracking the top 10 Billboard World Music Chart, since its release on Jan 2012. Since the release, NOVALIMA have embarqued on a world wide promotional tour that have taken them to stages in USA, Canada, New Zeland, Australia and Latinamerica and will continue touring all through 2013.

Arriving 6 years after the release of his breakout EP, El Búho returns to Wonderwheel with a very special Deluxe Version of said Cenotes EP including 3 previously unreleased tracks: "Manana Tepotzlan (feat. Gotopo) Vocal Version," "Tecolotin (Chancha Via Circuito Remix)," and "Tecolotin (Dub Version)." The EP is also set to be pressed to vinyl for the first time with a special splatter 12" invoking the cover art.

"Cenotes" was originally released in 2015 to widespread fan acclaim, firmly planting El Búho in the upper echelons of the Latin Electronic pantheon. Recorded in Mexico City after relocating from Amsterdam, "Cenotes" marries his influence of Dub, IDM and Electronic vibes with the rhythms, traditions and melodies of Latin American & Andean folk and the organic sound of waterfalls, birdsongs and crackling leaves, resulting in a dreamy, deep, melodic journey that entrances as much through headphones as it does on the dancefloor. Having studied Latin American Studies in Glasgow, El Búho (aka Robin Perkins) spent time living, studying and working in Argentina and travelling throughout the continent. Alongside his music, El Búho is also an environmental activist, having worked for over eight years at Greenpeace, being a member of DJs For Climate Action and coordinating the non-profit project "A Guide to the Birdsong" a series of albums that raise funds and awareness for endangered bird species through electronic music.

"Cenotes (Deluxe Version)" hits all digital streaming services December 3rd, with the vinyl 12" to follow shortly after.

Tel Aviv based artist Saraga arrives on Crosstown Rebels for the first time this December with Love And Happiness. It marks his only release in 2021 so far, highlighting a standout moment for the Israeli talent.

Love And Happiness manifests as a minimal-leaning dance cut, with low-slung kick-hat pairings residing next to shimmering vocals throughout. Mujer brings an energetic, late-night feel before All Day Everyday arrives as an out-and-out club number. Gritty basslines merge with echoing vocal tones, whilst Mantra transports us thanks to Saharan-like whispers and tribal-flecked drum patterns.

Saraga is a well-known regular in Tel Aviv’s thriving musical scene. His productions have landed on established labels such as Nervous Records, Robsoul Recordings and Body Parts, getting support from leading tastemakers including Marco Carola, Ricardo Villalobos and The Martinez Brothers to name a few.

Four months on from the release of David Walters’ hit Nocturne album, the Marseille singer/songwriter’s penchant for creative re-invention is on full display on this new EP that shows off the creative dexterity of DJs and producers from Europe and the Caribbean.

Featuring a stable of DJs and producers from France (Folamour, Synapson, Patchworks/Voilaaa); Germany (Henrik Schwarz); Portugal (Batida); the Netherlands (Pushin wood) and Guadeloupe (Déni-Shain, Mister Francky; Woodini) the EP enacts Walters’s resolutely international and collaborative artistic vision.

Paris-born DJ/composer Walters has long encouraged others to re-interpret his work. Indeed, one might say it’s a defining characteristic of his oeuvre, so much so that earlier albums have on occasion included differing versions of his songs on the same release.

Take the now talismanic Walters’s song, “Mama.” The tribute to Walters’s grandmother and the resilience and wisdom of all Afro-Caribbean women was the first single on Walters’s 2020 LP, Soleil Kréyol; then re-appeared on the Nocturne release one year later (after providing the foundations for an EP of mixes by longstanding musical confrère Patchworks in 2019).

Here, Henrik Schwarz’s take on “Mama” – the German DJ best known for his mixes of Ebo Taylor and Pat Thomas - introduces a distinctive keys motif, shifting the scene to dancefloors (far removed from the song’s original lilting, lyrical vibe).
If there’s a through line for the new remixes collection it’s the EP’s delicious groove. See, French producer duo Synapson’s version of “Baby Go” that’s sustained by disco dreaminess, strings for enhanced effect, playing around with momentum. Or the gorgeous Folamour-helmed “Sam Cook Di” sustained by the intricate Romantic sensibility of 90s Parisian House.

The inclusion of Folamour – the Lyon-based DJ/producer charged with carrying the torch of French electronica, check out his Mix Mag cover from April this year – in the EP line-up is quite a coup.
Other highlights are the EP’s twin re-invention of the song, “Papa Kossa” – a homage to the Cameroonian saxophonist/singer Manu Dibango, dubbed “Papa Groove” who passed away in March, 2020 – by Lisbon’s Batida and also DJ team, Déni-Shain and Mister Francky, who are currently based at the legendary Debs studio at Point-à-Pitre, Guadeloupe.
Batida (aka Pedro Coquenão) a DJ, born in Angola; raised in the Portuguese capital’s suburbs, whose music has been lauded by BBC6’s Gilles Peterson offers a particularly captivating remix of the song written for one of the giants of West African music.

While the first “Papa Kossa” allowed for the ensemble of master musicians - Malian master kora player, Ballaké Sissoko, French cellist Vincent Segal and percussionist Roger Raspail - to shine, the Batida remix strips the music back, transforming the piece into a delicate bird-like structure deep on anticipation. The Déni-Shain and Mister Francky mix, meanwhile, emphasises the tune’s buoyant essence.

Another immediate classic is the Woodini remix of “Sa En Yé” that breaks the musical elements down to a kind of deep super structure, starting with Walters’s voice – in close – to then add all the other parts, jangly piano, descending chords and percussion.

The recording of the Nocturne album – released in February 2021 – epitomised the notion of “unplugged” - 100 % live, no over-dubs or re-recordings, the fact that the musicians were performing “without headphones” (no safety net) led to the creation of a work of “rare sincerity” as Heavenly Sweetness label owner, Franck Descollonges recalled

The Nocturne remixes release maintains Walters’s essential spirit of collaboration; his desire to create music that is a bridge between places and people. But whereas, the first Nocturne album was deeply involved and meditative – a master class of musicians whose careers stretch back four decades or more – Walters’s remixes EP is all about contrasting voices and visions, spanning the globe.

Introducing Jogada, the group behind PÚCA001, a Berlin based trio made up by João Comazzi, Dave Murrin & Gavin Kenny. ‘Cavalo' is their debut release and is the result of a string of weekly sessions held throughout the stagnant year of 2020, when they were forced to put their dancefloor energy into the studio. After years of friendship and sharing music together, they started exploring what happens when different musical backgrounds join forces. The group is heavily inspired by traditional Brazilian rhythms, instruments and sounds from nature, infused with some dusty synthesisers and a quest for exploring the unknown.

Mendel & Delfonic re-edit classics by Germannu & Valéria on this Notes on a Journey 12" limited to 300 copies.

On the one hand there are two new editions of Germannu's «Fale De Mim» and one edit each for «Marcação» and «Pé na Estrada» by Valéria. Four times the very finest in soulful Brazilian pop music as one is now almost used to from Notes On A Journey.

«Fale De Mim» by Germannu, by the way, originally appeared in 1984 on the EP «Germannu» and was released in September 2020 by NOAJ as a lavish reissue.

The 4-track 7inch «Pé na Estrada» by Valéria originally came out in 1983 on the Brazilian label PPA (Paladar Produções Artisticas) and was re-released by NOAJ in November 2020.With «NOAJ Edits 01», a first absolute must-have edits package was put together. And as the title suggests, the series will continue in the following months with more highlights from the NOAJ catalog.

Using mostly sounds recorded at Altacura (the high stone of concepcion in Chile) itself, the EP transforms the energies of its spirits into an EP of psychedelic downbeat tableaus featuring rich sound design, driving percussions, conjuring vocals, and gritty basses :

'Allkun', which means "hear" in Mapudungun language, is a tribute to the voices of the birds that inhabit this area.

In 'Tierra Santa' guest vocalist Natalia Clavier joins the trio for a psychedelic dance around the rock.

On the flipside, Argentinian producer Uji increases the tempo of 'Allkun', and turns the original into a dry and percussive club version.

'Cirros' is the perfect tune for a beach club sunset, taking us up to the most recondite skies where we dance the day away with the Altacura spirits.

Whilst her Roselien moniker has been rushing through the London jazz, soul and rnb scene by various live shows downtown and her monthly "La Vie En Rose" radio show on Totally Wired Radio in the east side of town, her newest project Rosie From The Block is coming out of the blue on your favourite cities' label with refreshing but sharp broken beats, soulful and gospel like vocals along with a strong message and a soft touch of herself.

She already caught attention and support from big names worldwide such as Lefto, Erica McKoy and Reggie Watts, a remix done by Broken Beat's leading artist Kaidi Tatham and done support shows for Gregory Porter, Meshel Ndegeocello, The Jones Girls, Bilal and Gabriel Garzon Montano, Roselien is at least Belgium's hardest working girl within her niche.

As Roselien, her vocals were always the leading factor in her music, but Rosie From The Block shows her tougher side within by giving the full attention to her instrumentals and adding lyrics in function of her jams.

The lush and mellow floater she gave the name “you are loved” is a confirmational necessity for anyone in need. Strong drum accompany her carefully chosen chords down a slide of endorphins.

The story she's telling with “Let me be” is a strong and empowered message what every woman has experienced on the streets: namely harassment in public places and she's putting a belt below any girl's- or woman's heart.

“No matter what” denies and smacks away any form of doubt with bright and joyful piano chords along her personal style of drums, in order to land her plane of butterflies on the vice city airport, ready for the next flight.

All compositions and lyrics are a 100% made by herself within a range of less than 3 weeks. A no brainer for anyone listening to these tracks from the toughest girl from the block.

Afriquoi are back with their Time is a Gift Which We Share All the Time EP. Taken from a line from the track “Ndeko Solo”, the title is a reminder of the blessedness of being alive and the intimate connection of all things. This is the first EVER Afriquoi release where the whole band has gone into the studio to record a full live-band sound, playing together at Octagon Studios, putting down songs that were written collaboratively and honed over years on live stages. It was recorded with the assistance of Tom Excell (Nubiyan Twist, Onipa) to help capture the right live sound. This EP showcases the live band sound that has thrilled audiences on festival stages from
Glastonbury West Holts to WOMAD to Dimensions Festival: Jally Kebba Susso’s exquisite kora playing, Fiston Lusambo’s intricate Congolese guitar, uplifting vocals from Andre Espeut, crisp percussion from André Marmot, tasteful chords from Nico Bentley and beats from Oli Cole. More than any of Afriquoi’s previous releases, this EP allows each member’s individual sound and talent to shine. Guitarist Fiston Lusambo explains: “we wanted to create a style of music which does not exist yet by combining Congolese guitar, Gambian kora, African Djembe and mixing them with European music… this EP is a result of our work where each of us has put his talent in it, we think we have now something which is what we wanted”. Parisian label Mawimbi are the perfect match for the band, having established themselves as champions of afro-tinged electronic music, through their long-running nights in Paris, their DJ sets,
their label releases and their own productions and remixes for the likes of Oumou Sangaré, Femi Kuti, Cerrone & more.

Parisian Kuduro ambassador DJ Lycox kicks the club back to action with six killer, syncopated workouts on the indomitable Príncipe, swaggering between sultry and banging Afrohouse variations

As part of Tia Maria Produções and with his solo shots, DJ Lycox has been a vital player on Lisbon’s finest label since 2014. The ‘Lycoxera’ session leads on from the beatdown kizomba tempo of his ‘Kizas do Ly’ (2020) EP with a return to the quicker meter of his sought-after debut album ’Sonhos & Pesadelos’ (2017), giving the club what it needs as feet return to the ‘floor in late 2021 to dance their worries away.

Cherry-picked by the label from Lycox’s prolific studio output, the EP’s six tracks surely represent a clarion call to the rave, but finely balance a sense of urgency with more tentative, melancholic pathos that smartly reads the room. From its nervy but insistent opening vocal declaration of back to business on the ‘Eu Mbora Dou Bué Show’, thru the breezy lilt of his keys and quizzical top lines in ‘Momentos Unicos’ Lycox coaxes rather than demands, with deeply persuasive results.

The intricate beat science of ‘Rapaz Sinistro’ is bound to snag bodies in its swingeing syncopation of log drums and plucked bass motifs echoing Amapiano styles, while the haughty jack of ’Southside’ follows with immersive soundsphere of water sounds, trumpeting elephants and eagle squawks that transport the city to a jungle mindset. ‘Yoga’ is a standout 3 minutes of deep Afrohouse pressure, eazing tensely infectious drums with coolly poised chords, and ‘Wildin’ is the most concentrated, deeply technoid example of DJ Lycox’s urgent but furtive appeal on what is set to be a definitive solo EP.

Omena hits release no.30 and celebrates by bringing in Twovi aka Vito Loperfido to the family.

Vito released his first track, 'Giango' on Bosconi Records back in 2017 and followed up with 'In Memory of Love', on Chez Damier's Inner Balance, a release that showcased his talent for blending classic house with a fresh approach.
Fast forward 2020 and we got a new release 'Panama' ready.
These four tracks show why Vito is leading the wave of musical talent coming from Italy and he's not afraid of using inspiration from different sources.

The opening track Panama is an ode to a jazzy KDJ breeze while Santiago is a clever broken beat track with a few latin vibes sprinkled on top.

On the flip, Manchester producer Contours continue to turn music into gold with a singular remake of Panama.
It's a deep and rich version with his signature percussions included.
Last but not least Lima ends this fine EP, a track which takes us back to the golden days of Nuphonic.

Team Schatzi's racking up another batch of tracks, this time for a game of eightball, and we've got one for each pocket on the table.

Little bit of classic crackly disco, little bit of freaky funk, little bit of heavy-duty house, all handmade with a whole lotta love in the hometown of Brooklyn, New York.

Run the table with these disco diamonds. Just don't sink the eight early, alright?
Signs point to Schatzi!