House News

12 CLUB HIT SINGLES IN EXTENDED VERSIONS !!! BEST TOOLS FOR DEEJAYS Dj Player, the series dedicated to "professionals console", arrives at the 22nd volume, containing a careful selection of music Dance / Club International, all in extended version and strictly unmixed. DJ Player series for DJs and enthusiasts that creates movement: not remain you press the Play button!

Mit der - Spacesynth Collection' liefert ZYX das nächste
Highlight für alle Italo Disco Fans.
CD 1 bietet komplett neu produzierte Titel, die zu
100% an die legendären Synthesizer Klänge aus den
80ern erinnern.
CD 2 liefert die großen Hits aus den 80ern von
Laserdance, Hypnosis, Koto, Rygar etc.
Titel wie - Humanoid Invasion' , - Pulstar' sind
unvergessen werden auch heute noch oft im Radio
gespielt.
Und jetzt...... Stecker rein und alle Knöpfe auf 10, dann
kann die Synthflut abgehen.

Beatconductor Reworks // A Message Of Love // Boogie Love

KAT Records celebrate their 20th release in style by wel-coming Sweden's Beatconductor to the fold with this rather dishy white vinyl limited 10" that sounds as good (if not better)than it looks.

Probably best known for his work on GAMM, here Beatconductor continues his trait of delivering top quality reworks with this versatile two tracker that packs a mean punch.

First up we have 'A Message Of Love', a gospel tinged disco stormer of a track that's largely based on Ashford & Simpson's fantastic live outing of 'The Boss'. Crisp conga led beats, piano hooks, horn sections, that in-famous vocal hook and more break downs than your average AA man can shake a stick at all add up to this being an epic 8 minute gospel dance floor experience.

On the flip we have 'Boogie Love', a cheeky reworking of Lulu's finest moment (yes Lulu) 'I Love to Boogie', which when released as a single in 1979 failed to get in-to the Top 75. There is a seriously infectious (84 bpm)groove going on here making this a contender for the sassiest release of the year. Beatconductor beefs up the break, stretching and teasing before the rather ace vocal comes in and takes hold.

Brilliant stuff from Beatconductor and KAT and here's to the next 20 releases !

DJ Support:
E.A.S.E.
TERRY FARLEY
EMA NOSURAK, UK -
ANDY ASH, Liverpool, UK
MARK MILZ, Further in Fusion Radio,
SEAN GORHAM, UK
BRENDON P

Following Up to the very well received INT026HYR here´s Yet Another exclusive Cooperation of Internasjonal / Full Pupp and (Italian) Friends. This Time Thomas Diskomixes a Tribute to 'MARGOT' , riccione´s finest dancefloor electronica project, the fortuitous result of the coming together of kindredspirits Pepe and Giaga Robot. Prins Thomas get´s their previosly digital only carreer highlights in example the already classic 'Goblin' or 'Randomizzami Sto' a twist and - finally- the well deserved release on the classic physical format as well.

Astro:Dynamics release the debut EP from Adam Oko, their third and final release of 2015 following a collaborative LP by BNJMN and Best Available Technology and the second volume of BAT's 'Excavated Tapes' series.

A keen collector of 1980's era Japanese electronic music and post-punk records, Oko has broadcasted mixes on NTS Radio including a Daevid Allen tribute show following his passing earlier this year. Diet of Germs is the London-based/Canterbury bred artist's first release - having previously remixed and collaborated with the likes of B£AMS, Kelpe, and Devon Loch for the ever excellent Kit Records - and demonstrates a keen ear for minimalist composition and frippertronic loops as well as the likes of Soft Machine and Haroumi Hosono, with a touch of almost Windham Hill-esque ambient.

Raven Bush of Syd Arthur contributes a solo on Suketo, and Portland's Best Available Technology successfully makes it onto all of the label's 2015 releases by rounding off the EP with an excellently smudged and downbeat re-imagining. Mastered by Architeq and artwork by The Royal Academy's Thomas Langley

Melbourne based percussive dance collective NO ZU bring us their newest creation in the form of the 'Hi Gloss' EP.
NO ZU have been recently championed by the balearic connoisseurs from Testpressing, as well as being a featured track on Cut Copy's Melbourne dance compilation, Oceans Apart.
The title track, 'Hi Gloss' sets the tone for the EP - one of wild-abandon boogie and no-wave styled house that is at once uniquely NO ZU. Triple X funk and NSFW moods continue to flow and mutate throughout the EP with hedonistic freedom.
Hi Hypnomania sees the group nodding to influences like Konk and Pigbag, but then swiftly takes them down into a smoked-out, dungeon basement at an un-godly hour to forget about time and space.
Side B begins with a jam (Do Deep Dee) recorded in NYC with Sal Principato (Liquid Liquid) during a session that went from 1am to 6am. The result is as gloriously zonked and dubby as you might expect - a true continuity in free-groove and abstract percussive joy. Finally, the last track sees infamous LA boogie-man, Moon B (PPU, 1080p) take NO ZU's Ui Yia Uia into a darker dub and bouncy minimalist realm.
It's so sweet and fresh that it acts as the perfect after-dinner mint for the Hi Gloss EP. Let the "Heat Beat" posess you.

Deep Disco ist eine neue Serie auf ZYX Music, in der wir tief in
unseren Archiven wühlen und die spannensten 80er Jahre Italo
Disco Scheiben zum Vorschein bringen, remastern und in einen
clubtauglichen DJ Mix packen.
Eine CD mit insgesamt 12 Titeln, teilweise mega-rar (original
Vinyle gibt's bei Discogs für astronomische Preise) - direkt
vom Original Mastertape und sorgfältig remastered.
Deep Disco soll den Bogen zwischen 80er Jahren und der
heutigen Club-Kultur spannen, in der dank Nu-Disco und Deep
House wieder viel Interesse an den alten Scheiben entstanden
ist.


TRACKLIST:
KONTY - INTROUGH THE NIGHT (Dance Version)
QUINN MARTIN - ONE MORE MISSION (Another Version)
SPLASH BAND - PHILADELPHIA EXPERIMENT (Maxi Version)
COMMON SENSE - IN FRONT OF YOU
RADIORAMA - HEY HEY
CLAUDIO MINGARDI - FOREVER MINE (Mix Strumentare)
KASSO - WALKMAN (Original Version)
CYBER PEOPLE - VOID VISION
VINCIO - DANCE YOU AND ME (Instrumental)
HELEN - WITCH (Instrumental)
KOTO - DRAGON'S LEGEND (Dub)
WISH KEY - ORIENT EXPRESS (Instrumental)

Music For Dreams release their second 12 inch this year from Danish duo Visti & Meyland. Continuing their current passion for writing "real songs", Visti& Meyland are back with a larger than life anthem of love, melancholy and thoughtfulness. 'Sharing The Light' has a dreamy vibe in the verses and hits back hard with a Bobby Womack-esque chorus with Meyland's Jekyll and Hyde vocals. Carried by a 70's drumbeat, a hypnotic electric bass line, and an out-of-tune piano, this track has a strong emotional, warm and star-gazing feel to it, though still maintaining the heavy, rock-solid grooviness that the Danish duo are known for. On remix duties Payfone calls the shots and demonstrates his power turning the track into a modern Paradise Garage-inspired DJ tool. 'Girls On Camera' is the second track and a sure fire Balearic club monster combining "E2E4" style arpeggios with French Kiss style stabs making this package essential for any collector of open minded Balearic sounds.

Amidst much anticipation from collectors, record stores, DJ's and producers alike Gloria Ann Taylor's musical output on Selector Sound have been compiled and will be presented in a deluxe triple-gatefold double LP package complete with photos and extensive liner notes. Soul singer Gloria Ann Taylor has no rags to riches tale to tell. Her story is one of personal sacrifice, failed relationships, and missed opportunity. She was leading a hard knock life before being swept-up by the flash and promise of a marriage and business partnership with a successful record producer. She would be nominated for a Grammy, rub shoulders with James Brown and Bootsy Collins, and turn heads from Motown. But in the end she rejected professional singing, the music business, and the lifestyle that came with it. Thankfully for music lovers, before Gloria closed the doors on her singing career, she left us with some amazing soul songs. Deeply shaded by gospel roots, her haunting sound clearly comes from the gut. Gloria did not fake the funk. Gloria was a partial owner of the Selector Sounds label, along with her husband/producer Walter Whisenhunt (previously a right-hand man to James Brown), and her brother Leonard. They released five Gloria Taylor singles between 1971 and 1977. They also released the three-song Deep Inside You EP, under the name Gloria Ann Taylor and Walter Whisenhunt's Orchestra. In the studio Whisenhunt would work up a unique musical brew that mixed northern soul with exotic percussion and fuzzy psychedelic guitars. He moved Gloria through a range of tempos and stylings from ballads to disco. Her gritty vocal performance was set to orchestral arrangements creating a juxtaposition of grandeur and solace. The pinnacle of their collaborations has to be the jaw-droppingly epic EP version of "Love Is a Hurting Thing"; a chugging, string-laden disco track, that sounds like proto-Theo Parrish. (excerpt from liner notes by Andrew Jervis)

Huge 1983 boogie album from Vaughan Mason And Butch Dayo!
Fully re mastered for 2015 in conjunction with Salsoul.

More goodness from the KAT stable, UK via Cratebug from the USA and their first release of 2015, a no holds barred, straight for the jugular 4 tracker from Chicago's edit maestro.
Cratebug come's from the Windy city with whom their native resi-dents tend to know the odd thing about Disco & House.


Before teaming up with KAT records, Cratebug has previously enriched such labels as Derrick Carter's Persnickety, Lumberjacks In Hell, Grimy Edits and Tugboat to name but a few so you know you're in safe hands here.
The huge 'Deputy of Love' kicks of proceedings with House sen-sibilities being very much at the forefront of this edit.


Originally out in '79 and recorded by the fantastically named Don Arman-do's Second Avenue Rhumba Band on Ze Records, Cratebug rips up the original and brings to the table exactly what he does best which is re-arranging & re-working classics with House friendly beats which doff a cap to the original whilst keeping a keen eye on both the Dj and the dance floor alike.
'You Make Me Feel Good' brings more of a straight up party feel to the table and is both uber cheeky and handy in equal measures.


A Dj tool of sorts with classic tribal House beats underpinning that vocal sample coming via Magic Touch's Good Inside. Classic stuff here but done in a fashion that will appeal to both the old school and new bread of House heads out there.


On the flip we have much of the same with a classic Disco stormer followed by a bonus beat/dj tool with the stormer coming in the shape of Karen Young's 'Hot Shot'. Housed up to within an inch of it's original life, this rework is what we've all been screaming for which is to have a dj friendly version which will torment, tease and cutting the rug like never before.
Finishing things off nicely is 'Watch Yourself'...


Originally re-leased in '84, by Akabu and huge on the Chicago breakdance scene back in the day, Cratebug does a mighty fine job here stripping most of the original track back and focusing on the rather mighty beats which brings more of a proto-House feel rather than electro.

Surprisingly, it's been some four years since Croat producer Ilija Rudman dropped his much-played debut album, The Reveal, on Bear Funk. Happily, True Colours - his first outing on Is It Balearic - sees him in fine form, joining the dots between kaleidoscopic synth-funk, rubbery dub-disco, spaced-out boogie and glassy-eyed downtempo jams. Rudman is an expert at capturing the sounds of bygone eras, usually through the use of vintage equipment, while delivering tracks that sound thoroughly fresh and original. It's this that makes True Colours such a fantastic set. Highlights are plentiful, from the close dance smoothness of "Bad Passion" and boogie dub vibes of "All The Time" (check the delay-laden hits and sweeping violins) to the jaunty electro-goes-Balearic brilliance of "Wild Guess".

1x per customer

The wonderful Black Ops sub label from the SLEAZYBEATS crew continues...
For the 9th and penultimate release in the series, the Sleazy Beats gang welcomes Bristol's Admin (Future Boogie, Banoffee Pies) aboard the Black Ops ship, which ventures beyond the trusted beatdown waters the label has been sailing since its inception in 2012 in search of exciting new pastures.
For his 'Super Lover EP', Admin commandeered an obscure record collection and cut up a cheeky trio of summery, sample-heavy disco delights that are rough around the edges but groovy like a drive-in movie.
The Black Ops dudes decided to leave the crackle, hum and imperfections intact as an ode to good old-fashioned art of sampling, a tip of the hat to the format's charm ('life has surface noise mate') and a polite middle finger to the non-descript clinical compressed deep House that seems to be so in vogue now.
As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever.

It's tempting to concentrate on Felix's Dickinson's History, his pre criminal justice act rave orchestration, his 10 years DJing for the Lifeforce parties in Japan or any of his DJing and touring achievements during the early formation of the UK House scene. But, to concentrate on any of these things is clearly missing the point. Yes, Felix was making and playing music in those 'early days", but he has consistently championed underground music to this very day, whether via his myriad musical guises and aliases including Foolish and Sly, LHAS Inc, Das Etwas, Bastedos, and the soon to be revealed 'Dedication' project, on labels like DFA, Eskimo, Rush Hour and International Feel... or through his own Label, Cynic Music. It's Felix's absolute dedication to music, parties and dancing, which has allowed him to remain as relevant today as he ever was, and which has secured him regular appearances at festivals such as The Garden Festival, Burning Man and Glastonbury, regular tours of Japan, the USA and beyond as well as his London residencies at 'Bad Passion' and his own party, 'Bring It', which he hosts alongside the Idjut Boys. Bizarre as it seems after such a lengthy involvement spent at the heart of the scene, despite everything he's already achieved It still makes more sense to be excited about what Felix is going to next.

Ken Laszlo hatte 1984 mit Hey Hey Guy seinen ersten großen Hit. In den folgenden Jahren schwemmte die Italo Disco-Welle weitere seiner Titel in die Europäischen Charts.
Das Album Ken Laszlo hat alle großen Hits des Künstlers:
Hey Hey Guy/ Tonight/ Glasses Man/ Don't Cry Tonight

in stock again!!

DJ Reactions:

Mark Farina - Jam!
Johnny Fiasco - Funky. I will def play
Julius Papp - Damn good!
Luke Howard - Good party sounds
ATFC - Werd
DJ Meme - My brother Fudge bringin' out the beast on you :-)
Giom -- Woohoo
Paul Trouble Anderson - Ohh yes
Def Mix -- Nasty!

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

Ooooooweeee!!! is the third album of singer Dusty Springfield, released in 1965. The album includes the hit single 'Losing You'. Even more so than Springfield's two first albums, Ooooooweeee!!! can be considered as a compilation since it comprises tracks both from her British debut album A Girl Called Dusty as well as recordings originally issued on various A- and B-side singles and EP's - recorded and released in the UK over a period of some eighteen months.

The album also features tracks from Springfield's September 1964 sessions in New York, produced by Shelby Singleton Jr, some of which would remain unreleased in her native Britain until the late Nineties.

Emotional Rescue certainly laid a claim for the most esoteric of reissue endeavours last year, and they are looking to maintain this approach in 2013. Their first release sees the label dig further into the cassette archives of Kevin Harrison, focusing specifically on the Neo project the Coventry musician did in cahoots with fellow electronic explorer, Peter Every from Neophyte Records. As you can tell from the primitive drum heavy tone of the music, Neo surfaced in 1985 with the 8 track cassette release Global Network. This twelve presents five of those tracks, all of which echo the pulsing electronic rhythms of the Fly EP, Emotional Rescue's previous Harrison reissue, and will find as much favour with those who sleep on the left side of disco as fans of cold wave.

Die aus Virgina kommende Ann Alexander Thweatt alias Kid A ist das neueste Signing auf Technicolour. Produziert vom Franzosen Pierre Serafini aka Opti (Airflex Labs) und in Kooperation mit dem französischen Techno-Urgestein Agoria gelingt ihr mit "BB Bleu" ein fantastischer Einstand. Minimal-Synthi-Blues mit Soul! Remixe gibt es von Eliphino (House), den Label-Kollegen Dolor (Electronica) und Daedelus!

Mid 80's Canadian electronic disco from Purple Flash aka Pluton & Humanoids aka super producer - Pierre Perpall. The instrumental is much loved by Metro Area's Morgan Geist who had licensed it for an Unclassics release on Environ in 2004. Fans of Gino Soccio should talk note.

"One" ist das Debütalbum von Ben Klock. Ein Album, das in seiner visionären Strahlkraft nahtlos an das Shed-Album auf Ostgut Ton anschließt.

Red Laser seems to be attracting a wealth of young Parisian talent as they release more heat from Paris via Red Laser new comer Romainn Bezzina. Bezzina has worked closely with Bent producer Simon Mills to create and compile this EP of sultry analogue Baleario Disco especially for the Manchester label.
Bezzina's remix of Gary Low's 'I Want You' has already appeared on the recent Red Laser Disco compilation and now gets a re-press on this heavyweight twelve for increased sound quality.
Bezzina also drops Fly Away Jack, a splendid shuffler reminiscent of Van McCoy or Bebu Silvetti with a touch of Love Unlimited thrown in. These accompany 2 more tracks of sensual synth deepness including an exclusive vinyl release of Bent's Exercise 4 to make even the icy sleet of Salford turn into the sweltering sun of St Tropez. .

Chi-Town's AL & TONE are back with "VOLUME 6". The "PRAISE" side features "MAD DASH", a groovin' gospel tune with a funky bassline and sweet horn riffs, plus the spaced out "MY SOUL". The "REJOICE" side has the killer cut "U", a sweet modern soul jam along with "WORSHIP" a sick lo-fi cut.

New Dance DJ Selection edition. All original extended and unmixed versions !!!

Alma Negra is not only a mountain in the Cordillera de la Ramada range of the Andes Mountains, it's also a collective who are based in Basel, Switzerland.

The collective is made up of Miajica, Dario Rohrbach & Dersu Figueria. They are passionate diggers who loves playing music from all over the world & had their debut last year on the infamous Sofrito label with heavy edits from the islands of Cabo Verde.

This release on Basic Fingers is unique in every way, the keyword of this EP is 'rhythm' The trio has created something truly imaginative , captivating, and capable of tingling every muscle in your body.

Three wonderfully inventive & accessible tracks & another Basic Fingers sureshot.

After the international affair of NADO015, Moonboots' and Boardman train their gaze a little closer to home for the latest Aficionado release, welcoming the return of the majestic Stratus to the label.Back in 2013, the outfit gifted the world the sweeping beauty of the 'Spring Tide EP', a fuzzy hybrid of Dorothy Ashby, Pat Methany and Manuel Gottsching which soundtracked many a horizontal afternoon in the late Summer sun. Now Mat Antony returns to the imprint with another four tracks of intricate, immersive genius, primed to fling open the doors of perception and guide you into a brave new world.
'Axis' eases us into proceedings with the gentle cadence of languid guitar, allowing us a moment of hazy tranquility before an explosion of symphonic funk sends us spinning away into a different plane of consciousness entirely. The lost soundtrack to a peyote fuelled Sergio Leone flick, 'Axis' is a lone ranger riding an Axelrod rhythm deep into the desert while the chiming bells, choral vocals and campfire guitars swirl and eddy in the dry heat.
On the A2, 'Oxwich' offers a glimpse of lush vegetation, flora and fauna in full swing in the tranquil paradise of a rich oasis. Opening with a field recording of a tropical lakeside, the track blossoms into life with rhythmic guitar, gentle percussion and a pastoral bassline, all washed through with a fuzzy psychedelia, before wavy North African melodies shimmer this way and that in the midday swelter.'Solstice' sees Antony embracing the mellow magic of a violet dusk, taking us on a stoned journey into cinematic jazz territories with an Air of French sophistication. The relaxed charm of gentle Rhodes paints an endless horizon before the celestial keys and glittering arps scatter stars far across the heavens. 'Tisno' closes the EP out in more earthly surroundings as aquatic keys lap over organic percussion, and airy strings breeze over the thick and sticky bassline. Fragile piano chords glimmer in and out of the dubby soundscape, suggesting an emotional release finally realised by the euphoric sequence which closes the track and the EP. This is a vivid, expressionist masterpiece from Stratus, and another essential release from a flawless label.

7th album by legendary German disco-trio Arabesque, originally released in 1982 for the Japanese market only. Includes the hits Why No Reply, Don't Fall Away From Me, and Young Fingers Get Burnt. This Deluxe Edition contains a 6-page full color booklet with lyrics and rare photos, packed in a silver foil sleeve.

CD

Sigala aka Bruce Fielder ist ein junger Produzent aus London, seine Biografie beeindruckt mit weitreichenden Musikerfahrungen: Nachdem er bereits mit 8 begeistert Klavier spielte, schaffte er nach nur ein paar Jahren sein Grade 8, die höchste Amateurprüfung, die man in England am Klavier absolvieren kann. Als Teenager entwickelte er sich Richtung Jazz, bevor er an der Universität von Westminster studierte, wo er seinen Stil und seine technischen Fähigkeiten weiter ausbaute. Nur unwesentlich älter, entdeckte er seine Liebe für Dance und Künstler wie Pendulum, Sub Focus, Fatboy Slim und The Prodigy. Und sie, in Kombination mit der Musik der Neunziger (speziell RnB und Garage), waren es auch, die seine eigene Musik und seinen Sound beeinflussen sollten.

We are glad to announce the birth of Fonogrammi Particolari, a new record label based in Milan whose main goal is to reissue old school Italo classics in their original form but backed with brand new edits and remixes. The first issue is this essential cover version of Material's noisy disco classic Take A Chance' made popular by Mr. Flagio and originally released in 1983 by the Squish label. This cult track appears on the A side in its original form and on the B side in re-edited and reworked form by Fred Ventura and Paolo Gozzetti aka Italoconnection. Enjoy the old and new sound of Mr. Flagio!

From the tropics comes Whiskey Disco, a sneaky re-edit label bent on dredging the decanter for diffident dancefloor genius from
latent disco perpetrators. It's loosely connected to Sleazy McQueen and his assorted cohorts. Olivier Boogie returns to the fold withI Know You Care EP, the follow up to to his provocative first EP, WD27. The spectrum is as wide as one would expect from the famed Dutch selector, uptempo and high energy cuts include the swirling speed of Come Inside and crescendo building loops of I Know You Care. To balance, we slow down for deep sexiness found between the notes of How High and rollerboogie funk of Watch Your Step.

3 cryptically titled edits courtesy of Fizzy Veins... LTD and lovely.. insert included. TIP!

Previous album, 'Listen', certified Gold in the UK with 165k sales

#1 single with Lovers of the Sun and 3 x top 10 singles inc. Dangerous, What I Did For Love and Hey Mama

Over 1 million UK sales and 65 million UK streams on tracks from 'Listen'