House News

After the first 2 Phil releases that both sold out in the first days we have Phil 002 ready. Simon Hinter delivers another amazing record thats prooves that not everything has to be retro to be cool!.

Hailing from the coastal Swedish city of Malmö, Sune steps forward to provide a fourth EP for Lorca and Liam Curran's Live Ones. With his Mimosa Kuriosa EP he serves up 5 masterful disco and soul inflected rhythms that'll hit all the right spots.

Having previously provided his signature sunshine grooves for Better Listen, Kyoku and his own Honey Butter imprint, Sune is fast building a reputation as a prolific purveyor of funk. The EP shows off Emil Sunesson's ear for playful samples and infectious grooves. Dusty, heady drum programming features heavily across all five tracks, employed subtly on the laid back 'Bring Some Tea' while unleashed to devastating effect on the upbeat 'The Way U Make Me Feel'.

There's something for everyone on this versatile, enigmatic EP from a talented young producer that we're sure you'll be seeing plenty more of in time to come.

For this release, Sound Exhibitions proposes an EP composed of four pieces, the first two made by Lego Edit & Vito Lallinga. Definitely inspired by of Afro-house grooves that are present In all two songs, to give a sound hypnotic and deep. Then we have Phil Disco with a refined and classy track with a sax that makes the atmosphere very elegant and the last made by RobJ that resumes the old school house sounds.

Official reissue of highly sought after Dutch Boogie cover from Indeep’s classic hit ‘Last night, the D.J. saved my life’: Northy
Davies – De D.J. redde mij vannacht. Poko poko edit on the flip side!

It's a captivating encounter when a producer of relative anonymity bursts onto the scene with an exciting and engaging release, that you're drawn back to again and again, wondering how you've never heard of them before. Porto producer Pedro, & Washington DC vocalist Jenna Camille have achieved exactly that with this first release on the mighty Wolf Music Recordings.

The influences from jazz though to soul, RnB & broken beat are weaved deep within this record. You're drawn in from the off with an intro of stripped back pianos behind an emotional spoken word monologue from Jenna, before it opens up into a beatsy, RnB infused groove.

Having pulled you in 'Float' hits you with a richness of synth textures, layers of broken beats and dreamy chords alongside Jenna's "float" mantra hypnotising you deeper and deeper. Reaching the last section of the track though you're woken from that hypnotic groove with a switch to a raw and energetic breakbeat sure to get any crowd moving.

'Keep It H 2000', the final track on the A side, has a real flavour of Fatima to it emanating from Jenna's blissful vocals - laid over the top of sustained Rhodes, weighty synth lines and dynamic drums.

Flip it over and there's a tougher intensity to 'Future Dance (It'll Be OK)', coupling rhythmic stabs with jazzy chord progressions, laced behind a groove that wouldn't be out of place lighting up the floor at a Co-Op night.

To close out the e.p. you're given a sensory overload through Jenna's staggered, overlaid vocals panned to come at you from every angle - it's the perfect outro to both stun you and leave you wanting more. And if this extremely well-polished, first key release is a sign of things to come, Pedro's name will be becoming a lot more familiar in years to come.

George Benson's "Give Me The Night" gets a NU Jazzy-Brazilian re-touch under the production umbrella of the Los Charly's boyz: Juan Laya & Jorge Montiel, featuring Jazz Funkster: Xantone Blacq for this uplifting update. As B-Side there are J & J features their debut collaboration with the amazing: Heidi Vogel for a deeper excursion into Latin-Jazz fusions with the track: "Fly Me With You".

CREDITS:
Heidi Vogel - Vocals. Xantone Blacq - Vocals & Keys. Matheus
Nova - Bass. Raphael Delphino - Drums (Fly me with you) & Guitar. Juan Laya - Drums. Eikel Venegas - Trumpet & Trombone. Alejandro Martinez – Congas. Produced by Juan Laya & Jorge Montiel

The world needs more Dancefloor Jazz! Toy Tonics main man KAPOTE and former OYE Records selector DELFONIC teamed up to bring it to you. Both have a great vinyl collection and decided to release reworks of rare 1970ies jazz funk, spiritual, latin and brasil tunes. The first four edit came out end of 2019 on their new little vinyl label TOY TOYE. This is the 2nd release: ILLEGAL JAZZ VOL 2. And of course its secret material - reworked for todays dancefloors. With full respect to the original artists. The reworks have been made to bring the great original music come alive again.

Following on from 2012's huge Palua EP, UNER returns to Cadenza Records in May with a brand new EP. Featuring two tracks (and a bonus digital track), the 'Nagual EP' delivers once more, with UNER very much at the top of his game. 'Bonheur (Part 1)' is a definate 'journey' track, spreading itself out over 12 minutes with a booming yet sophisticated tribal rhythm, and infectious melody line and light keys that worms around the rhythm, ticking all the right boxes for a modern day house record. 'La Playa (Part 2)' maintains the energy levels, with a bright and urgent rhythm track, with gliding and random keys, percussive effects and melting synths all jostling for position, its discordancy creating the intensity and mood of this piece.

Arnheim presents rhode heavy fourth release on his own imprint, featuring London based musicians Phil Rose & Johannes Sahmland-Bowling.

Fenech-Soler produce perfectly distilled post-millennial dancefloor pop

Our fifth release is coming from the East. Scruscru is making his debut appearance on the label alongside Jehan. London-based Joe Corti on remix duties.

Launched in 2018 with two first EPs, Broken District continues to explore alternative music styles with the third instalment of its VA series.

The label's territory here expands to Jazz & Soul-influenced electronic music landscapes, with productions from Turbojazz, Setwun, Leon Revol, Duktus and the label's co-founders Jus Jam and Momla.

Afrikan Sciences hold time in one hand and space in the other. This is his first offering for the ESP Institute. Side A’s 'Have It Tall' boasts the characteristics of an improvised jam session. Tipped-off in a theme of rapid-fire percussion and an innocent chord progression, each instrument ventures into its own loosely carved space, allowing squelching sporatic bursts of bassline, rhodes piano twinkles and a frenetic funky drummer pattern that haphazardly cuts in and out, to coexist without ever stepping on one another’s toes. The production is simultaneously aggressive and mesmerizing, bright cracking punctuations alternate with a fat rolling bottom end, all elements dry and present. On side B’s 'Daily Gates', things are a little slower to get rolling. Currents of swirling synth chords carry over from the previous side, but here we’re dragged across a long and thumping upright bass intro. The fabric of instrumentation casually weaves itself over a 5 minutes of liberally syncopated rimshots, hi-hats and snaps, before a guitar interjects with a triumphant and otherworldly melody, a brief shot of glowing optimism before returning us to a heavy cosmic slop. These two songs have built the end into the beginning.

Amsterdam based Kid Sublime returns in 2020 with his new record: “The Umami EP” on his own Ballroom Radio Records .

Independent release pressed on 180 gram vinyl

A1 The Tool
The opener track of the EP “The Tool” has The MPC running steady with chopped up disco breaks and lush Detroit keys + Soulful vocal samples added on top to hype up the dancefloor.

A2 The London Bug
Inspired by his trip to London last year and a visit to the Bugz In The Attic studio, Kid steps up his game with a Broken Beat banger. A chopped up Jazz Funk breakbeat with a heavy Moog bassline lick and some keyboard action. This Bruk tune will definitely get the dancefloor moving.

B1 Left-Right-Dub
Soulful House action! Originaly released on his LP The Padded Room as “Heroes“ with vocals from Atlanta’s The Dangerfeel Newbies, Kid remixes this tune in a
stripped down Dub version. Smooth and Deep dancefloor vibes.

B2 The Force
A stripped down minimal Future Funk groove with a Seinfield-esque slap bassline and a spaced out sample. The MPC runs steady here for the deejays and the dancers!

“Live In Europe Vol.1” is the second Altsax production. These live recordings capture a series of the artist and his quartet’s performances throughout Europe in 1975. These gigs reflect Howard’s peculiar musical identity on the Free Jazz scene of that era. An uncanny and heavy atmosphere unifies the different compositions which are constructed with improvisations on disturbing repetitions.

Noah Howard(as),Takashi Kako (p), Kent Carter (b), Muhammad Ali (dr), Oliver Johnson (dr)

45 years after its original release, Sconsolato is proud to annonce an official reissue of “Live In Europe Vol.1” limited to 300 remastered vinyl copies.

Señor Gordon is back on Quintessentials! Colombia’s number 1 when it comes to freaky house music delivers the goods again. Felipe Gordon has this incredible talent to mix so many different sounds and samples to create his unique style. Funky pianos (or should we say sick ass chords!), wobbling basslines, jazzy samples, disco and funk influences all combined together to make the “Felipe Gordon house sound”. Sometimes more punchy like “Sick ass chords” and “The quint garage”, sometimes more relaxed like “Girl, u don’t know…” and “For those who…”, but you just hear it’s FG from B in C!

After the great success of our first Basswalk Limited series release, we have the huge pleasure to bring you this second edition made by the rising star Zlatnichi with his To Jic Headz EP, which includes four absolutely groovy tracks. In the A side we have French Cuckold Games first, which is magnificent voyage composed by several and subtle percussion layers that creates a great hypnotic vibe that is mainly followed and driven by a very funky bass line and low-end. The second track of this side is Jazzerai. It presents several house elements and a great work over the vocals and jazz fills that gives this track a quality upgrade for sure. For the B side we have To Jic Headz at first, which shows several musical textures in correlation with an amazing groove driven by a great low-end, in addition of an extensive work with the articulations of each sound to create a great musical piece. The second track of B side is Dandarinos and it leans towards a minimal house style with some tech arrangements and sounds that makes your brain float inside a delightful sonic experience in what is one of the most beautifully produced tracks from this release.

This is the first edition of "house experience" where we bet much more on the house music and it's roots.

Our greatest wish is that you enjoy this vinyl just as we do.
We only have words of thanks for being lucky enough to launch this VA, in which, the first two tracks are a combination of pianos, basses and percussions in the right measure. I will surely make you enjoy good music.

Side B is the most emotional face of this VA. Here you can find in all its splendor the true feeling of house music. Support: Kai Alce, Tedd Patterson, Joss Moog, Javonntte, Cinthie, Jus Ed and more feedback is coming!!

Classic 1998 debut album from the drummer best known for his work with Norah Jones, Joni Mitchell and Wayne Shorter.
The first of four Fellowship albums to date on Blue Note. Recorded and mixed at The Teatro, Oxnard, California. Produced by Daniel Lanois, best known for his work with Bob Dylan, Peter Gabriel, Robbie Robertson and U2. Featuring Melvin Butler (soprano and tenor sax), Myron Walden (alto sax), Jon Cowherd (keys), Dave Easley (pedal steel), Tortoise guitarist Jeff Parker and Christopher Thomas (bass).
The album showcases seven slow-burning Blade originals, plus Cowherd’s powerful ‘Lifeline’.

Moods & Grooves proudly introduces Cape Town’s Tshepang Mokoko aka LoopZ The Maestro.

Raised in a musical family, he was exposed to several genres of music including jazz, soulful house, hip hop, and deep house. A temporary move to Johannesburg focused his lens on deep house as it was the dominant genre. Influenced by AtJazz, Black Coffee, Culoe De Song among others, he spent time in the studio developing his own sound. Positive feedback from early demos fueled his passion to pursue music full time and finally, it’s ready for release.

Shallow dreams is a musical journey through the beautiful landscapes and soundscapes of Cape Town. Each track contains a mental glimpse of the area’s natural wonders, art, and design.

Rainman EP is the first release of Iori Wakasa, our Japanese family member, on our label. He is a well known artist in the electronic scene and just released on Highgrade Records and SAW Records his last works. Rainman comes with an impulsive beat full of clear hi hats, paddy kick drums and melodic atmosphere of charming. Second track - Take U Antarctica' is the opposite of Rainman. Deep waves leads through the whole track, dark and tight drums and hi hats round it off.Neverm!nd the German duo from Berlin flavoured the remix with their own touch and Yosa a good friend of Iori put all his energy for creating his kind of remix which is awesome too. We really love all four tracks and can say that Iori Wakasa, Neverm!nd and Yosa serve us a solid EP in the end for being a perfectly driven for the dancefloor.

FRANK SINATRA - SINATRA FOREVER - Remastered Edition,
12" Vinyl.

Local Talk is back again with a fantastic album from Soulphiction who gets deep, down and dirty with this bumping selection of timeless house tracks across 3 pieces of beautifully packaged vinyl...

Dusty grooves and soulful emotion form the foundation of this release, which also takes influence from Jazz, Hip Hop and Afrobeat.

Soulphiction aka Michel Baumann is one of Germany's most respected artists who is also known under the equally successful and iconic alias Jackmate.
This is the third time Soulphiction has featured on Local Talk including his recent single "Beehive". Other labels to have featured Soulphiction tracks and remixes include Lumberjacks in Hell, Rebirth, Pampa and Philpot Records.

A master of both mood and texture, this release showcases the studio wizardry of a true sound-smith.
Chunky percussion with shuffling rhythms form the backbone of the grooves, which are fleshed out with intricate melodies and funky basslines that move mind, body and soul.

Like the tracklist of a J Dilla mixtape, this album flows with a purposeful care combined with a storytelling blend of emotions rarely heard in a house music long player.

Executed to perfect precision, this album is an instant classic and a must-have for home listening along with a club setting.

WE JAZZ RECORDS presents ' Pu: ', the boundary-breaking solo debut of bass player Ville Herrala, to be released on 21 February 2020. Utilising only the double bass but looking at the instrument from various different perspectives. The end result is an inspired set of 14 miniatures, each pushing the concept forward in a highly personal way.

The first single "Pu: 12" presents a rhythmic approach with echoes of from the world of minimal classical music and electronic music. Bowed tracks such as "Pu: 2" offer another perspective, as does the second single "Pu: 10", going back to the essence of the instrument and opening new doors while doing so. Each of the tracks is a compact musical adventure unto it's own.

Ville Herrala (b. 1979) is one of the most higly-regarded bass players working in the Finnish scene. He's known from the ranks of such top ensembles as PLOP, Jukka Perko Jazztet, U-Street All Stars, Jukka Eskola Orquesta Bossa and UMO Helsinki Jazz Orchestra, to name but a few.

THE VERY BEST OF ELLA FITZGERALD & LOUIS ARMSTRONG
• 180 GRAM GREEN VINYL + CD
• REMASTERED FOR AUDIOPHILE LISTENERS
• COLLECTOR EDITION LIMITED TO 1,000 COPIES WORLDWIDE

• ***PLEASE NOTE THAT THIS IS A NON-DISCOUNTED TITLE
• THE VERY BEST OF NAT "KING" COLE
• 180 GRAM GOLDEN VINYL + CD
• REMASTERED FOR AUDIOPHILE LISTENERS
• COLLECTOR EDITION LIMITED TO 1,000 COPIES WORLDWIDE

Almost 10 years after the first release, a milestone in Jazz-House history is hereby re-released.
Be fast - limited edition!

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

We are excited to present Tom Misch and Yussef Dayes’ “What Kinda Music” – an astonishing collaboration between two artists of very different disciplines, and one of the most unique and seamlessly original projects of its ilk to date.

Moving fluidly through sleek electronica, avant-garde jazz, vintage hip hop and so much more, Misch and Dayes take you on a journey that is by turns surprising and spontaneous, heady and head spinning, and nothing less than compelling – a singular vision which fuses the DNA of both musicians with spectacular results, as can be seen in the title track, which comes backed by a gorgeously atmospheric video by XX.

Even though the fundamental bones of this project came together very quickly, its actual provenance stretches back much, much farther back, with the pair not only growing up in the same area of South East London, but Misch actually seeing Dayes play on drums in the school talent show for the first time when he was roughly 8 or 9.

They both kept tabs on each other – Misch becoming a fan of Dayes’ act Yussef Kamaal, Dayes clocking his videos in 2014 – but it was only when they met at a launch party for Misch’s debut LP “Geography” in 2018 that the proverbial creative sparks began to fly. “As a musician you’re always looking for contemporaries who can push you and challenge you and make you better”, says Dayes. “I instantly felt that with Tom – he was such a gifted musician, and so prolific”. That summer they decided to go into the studio together, jam a little, and see what happens, with no other expectation placed upon it.

As it turns out, the music came fast and furiously. Two initial tracks were suddenly followed by a handful of others, and the pair found themselves contemplating what to do next. “Pretty soon, we knew that something was gelling”, Dayes says. “It didn’t feel like a one-off collaboration, it felt like a body of work”. What made the pair click, according to Misch and Dayes, were the exact same factors that meant it shouldn’t, by all rights, work. Misch says, “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible”. And certainly, in “What Kinda Music” you can sense the DNA of both musicians, but fusing so effortlessly and beautifully that it creates something else entirely, the appropriately named “Lift Off” sending goosebumps with its jazz flecked crescendo, and “Night Rider” hynotising with its deeply mesmeric grooves. “I have a love for harmony and chords”, Misch adds. “Working with someone like Yussef, who has such a gifted sense of rhythm allowed a perfect balance”.

Throughout the record, there is an utterly joyful feel of two musicians at the top of their game sparking off one another, picking up ideas and running with them – zigging where the other zags, ebbing where the other flows, with Misch producing the majority of the record and both having a hand in the overall sound and feel of the record.

“Working with Yussef has actually changed the way I work as a musician”, Misch muses. “He’s pushed me and unlocked a more experimental part of me that I hadn’t really allowed myself to explore before. I think we really did impact each other in a fundamental way”. Dayes is similarly effusive in his praise for Misch. “A musician like him, who’s at the top of his game, he doesn’t need to do this”, he raves. “He can just keep doing the same thing and why not?
He’s killing it. The fact that he’s so humble, that he’s so curious about everything and open to collaboration, speaks a lot to him as an artist, because it’s not easy finding musicians who want to collaborate. Something always gets in the way, whether it’s ego or their team or whatever. But with Tom it felt like the intention was purely creative, and that’s what made it exciting”.

In fact, Dayes says that the intentions of the record go even deeper than just music. “Both our parents who’d never met each other before, are now best friends as a result of this, they now see each other more than we do! I’d like to think, in some small way, that this album has a similar impact for people too – everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realise it doesn’t have to be that way”.

We are excited to present Tom Misch and Yussef Dayes’ “What Kinda Music” – an astonishing collaboration between two artists of very different disciplines, and one of the most unique and seamlessly original projects of it's ilk to date.

Moving fluidly through sleek electronica, avant-garde jazz, vintage hip hop and so much more, Misch and Dayes take you on a journey that is by turns surprising and spontaneous, heady and head spinning, and nothing less than compelling – a singular vision which fuses the DNA of both musicians with spectacular results, as can be seen in the title track, which comes backed by a gorgeously atmospheric video by XX.

Even though the fundamental bones of this project came together very quickly, its actual provenance stretches back much, much farther back, with the pair not only growing up in the same area of South East London, but Misch actually seeing Dayes play on drums in the school talent show for the first time when he was roughly 8 or 9. They both kept tabs on each other – Misch becoming a fan of Dayes’ act Yussef Kamaal, Dayes clocking his videos in 2014 – but it was only when they met at a launch party for Misch’s debut LP “Geography” in 2018 that the proverbial creative sparks began to fly. “As a musician you’re always looking for contemporaries who can push you and challenge you and make you better”, says Dayes. “I instantly felt that with Tom – he was such a gifted musician, and so prolific”. That summer they decided to go into the studio together, jam a little, and see what happens, with no other expectation placed upon it.

As it turns out, the music came fast and furiously. Two initial tracks were suddenly followed by a handful of others, and the pair found themselves contemplating what to do next. “Pretty soon, we knew that something was gelling”, Dayes says. “It didn’t feel like a one-off collaboration, it felt like a body of work”. What made the pair click, according to Misch and Dayes, were the exact same factors that meant it shouldn’t, by all rights, work. Misch says, “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible”. And certainly, in “What Kinda Music” you can sense the DNA of both musicians, but fusing so effortlessly and beautifully that it creates something else entirely, the appropriately named “Lift Off” sending goosebumps with its jazz flecked crescendo, and “Night Rider” hynotising with its deeply mesmeric grooves. “I have a love for harmony and chords”, Misch adds. “Working with someone like Yussef, who has such a gifted sense of rhythm allowed a perfect balance”.

Throughout the record, there is an utterly joyful feel of two musicians at the top of their game sparking off one another, picking up ideas and running with them – zigging where the other zags, ebbing where the other flows, with Misch producing the majority of the record and both having a hand in the overall sound and feel of the record.

“Working with Yussef has actually changed the way I work as a musician”, Misch muses. “He’s pushed me and unlocked a more experimental part of me that I hadn’t really allowed myself to explore before. I think we really did impact each other in a fundamental way”. Dayes is similarly effusive in his praise for Misch. “A musician like him, who’s at the top of his game, he doesn’t need to do this”, he raves. “He can just keep doing the same thing and why not?

He’s killing it. The fact that he’s so humble, that he’s so curious about everything and open to collaboration, speaks a lot to him as an artist, because it’s not easy finding musicians who want to collaborate. Something always gets in the way, whether it’s ego or their team or whatever. But with Tom it felt like the intention was purely creative, and that’s what made it exciting”.

In fact, Dayes says that the intentions of the record go even deeper than just music. “Both our parents who’d never met each other before, are now best friends as a result of this, they now see each other more than we do! I’d like to think, in some small way, that this album has a similar impact for people too – everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realise it doesn’t have to be that way”.

Super obscure and massively groovy Japanese jazz from 1971. One for all the London and Tokyo jazz massives. A total cult in demand tune from an album that if available goes out for a wallet busting £500. First time on 45. TBR in early 2020.

On the "B" side originally released in 1975 this spellbinding tune
by the cult maestro Baldan Bembo is a jewel from the Italian film L'AMICA DI MIA MADRE. Groovy Samba beats and bouncing Jazz percussion.

Superposition is a new explosive group from Helsinki. Led by drummer Olavi Louhivuori, the quartet features Linda Fredriksson and Adele Sauros on saxes and Mikael Saastamoinen on bass. Louhivuori is known from his solo projects, his band Oddarrang, plus his inspired work with the likes of Tomasz Stanko.

Fredriksson is best known from Mopo and Saastamoinen OK:KO. Sauros ranks among the most noteworthy new rising stars in the Finnish scene. The band's debut album is released by Helsinki's We Jazz Records on March 27.

On their debut alsbum including 8 original compositions (6 by Louhivuori and one each by Fredriksson and Saastamoinen), Superposition present a powerful statement rich in musical ideas and solid in their execution. Beginning with the fire music of the album opener and first single "Antiplace", the group move into pastoral soundscpaes, such as the ending track "March".

This is music for repeated listening, deep and darkly-toned yet bursting with the intensity of the new group. All throughout the album's different moods, Superposition sound remarkably together here.

"Superposition" is released by We Jazz Records on vinyl
(black and orange editions), CD and digitally.

Superposition is a new explosive group from Helsinki. Led by drummer Olavi Louhivuori, the quartet features Linda Fredriksson and Adele Sauros on saxes and Mikael Saastamoinen on bass. Louhivuori is known from his solo projects, his band Oddarrang, plus his inspired work with the likes of Tomasz Stanko.

Fredriksson is best known from Mopo and Saastamoinen OK:KO. Sauros ranks among the most noteworthy new rising stars in the Finnish scene. The band's debut album is released by Helsinki's We Jazz Records on March 27.

On their debut alsbum including 8 original compositions (6 by Louhivuori and one each by Fredriksson and Saastamoinen), Superposition present a powerful statement rich in musical ideas and solid in their execution. Beginning with the fire music of the album opener and first single "Antiplace", the group move into pastoral soundscpaes, such as the ending track "March".

This is music for repeated listening, deep and darkly-toned yet bursting with the intensity of the new group. All throughout the album's different moods, Superposition sound remarkably together here.

"Superposition" is released by We Jazz Records on vinyl
(black and orange editions), CD and digitally.

Smell the perfume of the Mediterranean coast with the brand new project born by the minds of Don Carlos, Cosmic Garden & Rhythm Of Paradise.

Stellar full-length album selection of archival material from Tim Jackiw ranging from timeless late night techno and deep space soundtracks through to electronic jazz and ambient atmospheres. All music sequenced and recorded in Tim's Adelaide-based bedroom studio between 1995 to 1997 using an Amiga 500 interfaced to various analog synthesizers, drum machines and samplers. Limited colour vinyl double pack - big tip!

Eddie C's exemplary RED MOTORBIKE hits No. 20 with another fine double A, dinked 7" !!

A breezy and musical ride awaits on the A, as 'On The Coast' provides a beautifully sliced, pastel linen suited piece of early 80's Japanese Jazz-Funk

On the B, label regular CEM G's 'By The Sea' is reworked by Eddie into a looped-up and irresistible mid-tempo musical mover.

Light Blue Vinyl / Vinyl Only

Fresh summer feeling with The Rebel and Pablo Ruiz on
Legofunk 7" light blue version