quête:mr key

DJ Oonops presents Volume 2 of his extensive compilation covering genres from Dub, Jazz, Funk, Soul to Beats and Hip Hop featuring pretty well known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC).

Be that jazzy beats or virtuoso live jazz drums, keys and guitars from Japan by Kazumi Kaneda, RF and 45 a.k.a. Swing-O, a first-time- on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia.

Also you gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powervoice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork.

Be sure to get your hands on this limited peace of work before it's gone like Volume 1. About Oonops: beside his vinyl only show on Brooklyn Radio he is spinning banging club sets to relaxed mixtures for vernissages, museums or theaters. And furthermore he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.

Renate Schallplatten's eighth release comes from Michal Zietara with Olympia Europa. The four-track EP, the Polish-born, Bavaria-raised, Berlin-based Renate resident's solo debut features three originals plus a remix from Ian Pooley.

Opener "Mr. Joy" is a late-night uptempo jam with a punchy bassline and warm pads. Chopped vocal samples come to the fore around the breakdown, raising the tension for maximum euphoria upon the beats' return. Ian Pooley's flowing remix on the A2 is in the signature '90s filter house style. The vocals lead the way, adding some warmth to a rather stripped-back affair. It's another peak-time cut that makes you want to close your eyes and move to the music. The punchy beats and upbeat melodies return on "Euro Robot," this time paired with intricate drums, fluttering vocals, and high-pitched keys. Closer "Pink Seal" is more downtempo and pensive, centered around coherent vocals and smooth pads. The beats feature less prominently, even fading away after a brief midsection. It's a cerebral track; a moment of self-reflection in an otherwise upbeat, high-energy EP.

The EP is Renate Schallplatten's second of 2019, following Longhair's label debut. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

Detroit native Javonntte, keyboardist to the late Aretha Franklin, delves deep into the Jazz Fusion vaults with Primetime Voyage.

The KBCS are:

Lucas Kochbeck - Drums

Nicolas Börger - Keyboards

Lars Coelln - Guitars

Daniel Stritzke - Bass

The KBCS were born in the northern hemisphere under the zodiac sign of snowman. They sound like Föhr and nicely topped pizza, tight as thinly folded pizza boxes and with drums dry as flour that would nearly make you cough. But hotter. Laughing is part of their ritual to get into the zone. Even though some of them prefer Ph without coriander, they still won't order it online because of plastic waste.

The moon shone happily while they recorded their spiced up cinematic, funky & atmospheric lowdown grooves album.And since the polar star was missing, they headed for Venus instead. Luckily, they didn't keep it four-dimensional but had old friend and funk head Mr Flo Mega himself on keys and good vibes - things got really wicked from there. Few people were present and those who were are not entirely sure how it all happened or where it began. Some people say it was Roy, others blame it on the sauna. Fact is that the session took its own course and most people were smiling during the recordings.

Nobody knew then about the flamingo on the cover or why the bird at least looks like one. Hailing from Hamburg, Germany the KBCS not only love to record but also play around Europe. Be sure to welcome them with a Ph in your city and they will surely return the favor by taking you on a ride utilizing a special horse: the (space) funk lama.

Classic jazz/funk/disco cut that became an instant anthem on all discerning dance floorswhen it was originally released, and for decades to follow. Includes the previously commercially unreleased Sax Mix of 'Journey', cut loud at 45rpm.

Championed by DJs including Francois Kevorkian, David Mancuso, Larry Levan and more, it's a record that, alongside tracks like Atmosfear's 'Dancing In Outer Space', become synonymous with the UK influence on US club music at the time.A sound that many forward thinking DJs in New York, Chicago etc. embraced to stand out from the crowd and bring depth to the dance floor.

Driving jazz/funk, legato bass, grooving beats, subtle keys, dubbed out percussion and guitar licks that bring you to a simple but infectious piano melody.

A collaboration between Andy Sodjka and Jerry Pike, mastered by Herb Powers.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

Legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor.


Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.

'Simigwa' was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

Transmission incoming from Mr. Incognito's secret lab. Rat Life presents eight psycho acoustic models made by the low key East German producer. You probably never heard of him, but he is doing this thing since half an eternity. Rather than playing a lot of shows he focuses on studying the craft of electronic sound manipulation and what else can be said that: he is on top of his game! He shows us that it is still possible to create sonic structures that are beyond the usual by just using classic devices such as the TR 808 rhythm composer and a TB 303 monophonic synthesizer. Next level funk composing at various tempi!

Tired of reading the words 'classic', 'masterpiece', 'missing link', 'cult', in every press release Just trust us on this one: We have no choice but to use those words and urge you to(re)discover one of the ultimate Afro-Disco lost classics.
How could such a masterpiece stay in obscurity for so long Well, no one knows where N'Draman is. He's presumed dead, and so is Mr Patrick, the label owner, an ex-football player
who turned his focus into fashion after suffering a career ending injury. Selling jeans from an outlet in Monrovia (Liberia), he only ventured in the music business for a short period of time,
releasing a handful of incredible albums on his Cosmic Sounds imprint. The word on the street was that Nigerian legend William Onyeabor was somehow involved with the production of the album, or maybe playing synths on it. Both were inaccurate, although N'Draman Blintch's previous and first record Cikamele, was indeed recorded at Willfilms, Onyeabor's studio. And some of the musicians playing here were also key members in his pool
of session musicians. Cosmic Sounds is many things: Psychedelic, politically engaged, funky to death, full of synths,
with an artwork to die for, a perfect crossover of African and Western culture: Music for the body and soul, Cosmic disco before the genre even existed. Did DJ Danielle Baldelli hear it
Was it ever played by Larry Levan or Mancuso In a pre-internet era, it's unlikely but not impossible. We are extremely honored in carrying the reissue of this gem and have treated the task with
utmost respect: both artwork and audio were restored by specialists, and liner notes were written by Temitope Kogbe, Afro-Funk expert who runs the Odion Livingston label, founded
with legendary producer Odion Iruoje. 38 years after its original release, the world is finally ready to hear Cosmic Sounds in all its glory.

Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass

Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: " blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. "Ideas and fashions repeat themselves in cycles. Events are said to travel 'full circle' and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I've aspired to make something beautiful with those values at its heart".

The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn't the conclusion of the journey, for France: "The Circle is infinite - During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides" And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

Confused Machines' are excited to release an E.P by the composer and producer Ishai Adar (aka Oosh). Adar started his musical journey in the mid 80's as the keyboard player of the legendary Israeli post-punk band 'Nosei Hamigbaat', together with his high school friend Ohad Fishof.After his withdrawal from the band, he released 'Her': An innovative, experimental, electronic dance album, rare in the Israeli music scene of the late 90's. In this album, he fused 80's synth-pop influences ('Depeche Mode', etc.) with a cutting edge techno sound, which still sounds up to date. This album influenced the local underground electronic music scene of the late 90's.Following the album 'Her', Adar became a prominent composer and created soundtracks for motion pictures such as: 'Year Zero' (2004), Oscar-nominated 'Beaufort' (2007), 'A Film Unfinished' (2010), 'Bethlehem' (2013) and 'Mr. Gaga' (2015).In his current project '12', Adar revisits the synth-pop sounds which shaped his musical taste. He infuses profoundness and character to musical genres such as new-wave, Italo-disco, Euro-pop and contemporary dance music forming - multi-layered, euphoric and romantic melodies. A killer acid-techno remix of the track 12 by the legendary Rude 66 is included in the E.P.

Smoove & Turrell's second single outing from their album 'Mount Pleasant' is a double helping of up-tempo dancers for those that like to shake it...

Never one's to stop experimenting and pushing their musical boundaries, this single is a perfect example of exactly that, featuring two tracks with massively contrasting styles but with a quality of song writing and production that these guys have got down to a fine art in their years together.

'I Feel Alive' is a tasty electro disco cut inspired by a hedonistic night in Paris. It's the perfect blend of Smoove's trademark groovy productions with Turrell's sweet tones and honest relatable lyricism. Keys man - Mike Porter gets a chance to engage the arpeggiator function on his synth collection as he and the rest of the band create a host of spacey sounds to form the backdrop of this catchy number.

On the B side is 'Mr Hyde' - a beast of a track that opens with energetic live drums and a memorable guitar riff that form the backbone of a rocking tune that sees John Turrell manically singing through a distortion effect delivering the lines "I'm Jekyll and baby you need to hide" in a suitably menacing style...

Fusing garage rock, psyche, northern soul and pop sensibilities it's a Frankenstein's monster of a track that works on multiple levels with the lyrical subject matter.

Bluestaeb's Evolution From A Beatmaker To A Producer Is His Sophmore Album everything Is Always A Process'.

He Is One Of The Key Figures Of A New Generation Of Up And Coming Hiphop Beatmakers, Who Have Emancipated From Genre Thinking And Instead Merge Old School Aesthetics With A New School Attitude And Organic Instrumentation.

Everything Is Always A Process Re-iterates Bluestaeb's Overall Approach To Life (and Thinking), But Also Has Direct Reference To The Making Of The Album Itself, Which Began With Moving From Berlin To Paris In 2015 In The Search Of New Influences And A New Creative Environment.
Created Between 2015 And Early 2018, Eiaap Embodies The Process Of This Transition - As Well As Collaboration With Instrumentalists And Vocalists From All Over The World And Recording In Different Studios In Paris, London & Berlin.

"meeting All Those Musicians And Trying Out New Ways Of Producing By Using Real Analogue Synths, Rhodes, Drums And Percussion Etc. Made It Possible To Overcome The Creative Boundaries Of A Home Studio With Just A Midi Keyboard" / Bluestaeb

Influenced By Madlib's "shades Of Blue" And Trained In African Drum Techniques Such As Djembé And Daruka, Bluestaeb Had Been Crafting His Own Beats Since His Teenage Years And Gradually Found His Sound Identity Through Experimenting With Hiphop And Jazz - First To Be Heard By A Broader Music Community In 2013, When He Released His Debut Album "1991 Extraterrestrial" (radio Juicy). Since Then The Prolific Young Artist Has Released Numerous Solo And Collaboration Projects ("b.l.u.e. Friday" In 2015 And - sidekicks With S. Fidelity In 2016). In 2016, He Produced Collaborative Album "lit - Lost In Translation With Rapper Juju Rogers, A Keen Manifesto Against Racism, Xenophobia And The Rise Of Anti-heroes Such As Donald Trump.
Today, Bluestaeb Lives And Works In Paris And Berlin And Is Set To
Release His Third Solo Album everything Is Always A Process', A
Smooth Neo Soul-induced Epic Featuring Artists Such As Noah Slee, Harleighblu And Melodiesinfonie, Via Jakarta Records In 2018.

Second EP of the label Lowlife Cartel. An all star, six-track release from sixl key artists in various genres, from cutting edge techno to leftfield house, confirmes the versatility of Lowlife Cartel.
The EP begins with "Butt Dub Pregost", dubby downtempo atmospheric track, by one of most innovative and versatile artist of the last years: Buttechno (Rassvet records, Collapsing Market..)."Out For A Walk" by Fmy (Too Rough 4 Radio) is a leftfield house track, face covered and steps muffled through a deadening blizzard of tape saturation and white noisey envelops that find a balance between deepening the sense of immersion and a retained rhythm. "Unusual Mondai", hypnotic track by Sammy T Thompson, an alias of S.Olbricht (UIQ, Opal Tapes..), fits with an introspective melody and atmosphere.
"Mr Hodge Appreciation Society" is a quintessential Machine Woman (Ninja Tune, Peder Mannerfelt, Where to Now) club track, spanning sexy house and bold techno.
"Celestial Body" by PRESENTE oscillates between jungle and drone like a futuristic comet.
"Y'alll" by the rising producer Voyd, is a abstract house piece. Setting skittish drums and altered vox sample, smothered against a grey-ish canvas of blurry, washed-out pads.
Raw and indisputable quality of production.

Berlin based Jens Dohle is a man of many talents. An accomplished composer and arranger for theatre productions across Europe, classically trained multi instrumentalist, explosive live drummer for YE:SOLAR, Munk, Hot Coins, Sado Opera. Longtime collaborator with Danilo Plessow aka MCDE and Noema from African Shakedown fame. Remixer for Jazzanova and 4 Hero. There's not enough room here to list his amazing work.

2018 ushers forth a new identity to his already enviable C.V with his first EP as James Dole (a jokingly anglicised version of his birth name). The 3 tracks here all showcase his ability to create a strong mood and use great splashes of melody and rhythm but without ever losing the groove. Written during a period of 'introspection' in deepest, darkest Berlin, each one tells a different story.

Ex is a moody monster of a track. It builds and builds into a pounding nightime symphony with a kind of epic-ness which hints at many years spent mining the highs and lows of music, love and life. Big room yet with a gut wrenching soul beneath the slightly flamboyant majesty. Made in East Berlin and well road tested in the cities debauched nightclubs.

Fantasia shows off Mr Doles jazz and broken beat background with rolling, funky drums sashaying with hip hoppy live jazz keys. Then those signature euphoric yet melancholic synths appear halfway through the track to create an emotionally halcyon mood. WIBES.

The EP closes with Grande. Super melodic yet cinematic with amazing synth work and a sophisticated arrangement showcasing James's well trained musicianship and artistry. An opus of melody and longing built for Italian arthouse films about unrequited love.


DJ Support from - Midland, Honey Soundsystem, Sandrino, Jimpster, Ame, DVS1, Shadow Child, Joe Goddard, Red Rack'em, Futureboogie, Soft Rocks, Domenic Cappello, Downtown Party Network, Danny Russell

Ghanaian music legend Ebo Taylor returns with perhaps his finest album to date.
But don't take our word for it. That's coming straight from the man himself.
And he should know after more than 60 years in the business.
The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas.
Famously, he rubbed shoulders with Fela Kuti while studying in London in the Sixties, before going on to lead the Ghana Black Star Band (featuring Osei and Sol Amarfio from Osibisa) and later the Uhuru Dance Band back in Ghana. Like Fela, he is always pushing forward, constantly reconceptualising his sound and
attuning it for a new generation. Part teacher, part messenger.
Listen to Yen Ara and you will not only hear the high-energy afrobeat, sweet highlife, jazz and konkoma influences that he's famous for. There is also a disco pulse and hard-hitting percussive edge to the tracks, which were produced by Justin Adams (Tinariwen, Rachid Taha, Robert Plant) and recorded in the live room at Electric Monkey Studio in Amsterdam. An Ebo Taylor for these times, you might say.
His group, the Saltpond City Band, are all handpicked local musicians featuring two of his sons. An appropriate line-up on an album whose titles means we'.
And they are on fine form, ripping through tracks such as 'Krumandey' (a surefire party starter) and 'Mind Your Own Business' (a simple message delivered over a frenetic drum rhythm).
Elsewhere, 'Aboa Kyirbin' will please fans of tough afrobeat grooves, while Taylor could well be inciting a riot at his next gig with 'Mumudey Mumudey', We hear him calling for 'preshaaah' and leading us into a call and response as the trumpet takes us higher. And the lift of those horns on 'Ankoma'm' evokes some
of his finest work such as 'Love & Death' and 'Come Along', the latter recorded with the Pelikans and featured on a recent Mr Bongo reissue.

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

"Non semper erit aestas!" - wie Erasmus einst zu sagen pflegte, es wird nicht immer Sommer sein. Aber wir sprechen hier über Sommer mit einem s : Summers Sons! Ein aufstrebendes Hip Hop Duo bestehend aus den Brüdern Turt (Rap) und Slim. (Beats) aus London/Bristol. Charlie Tappin, der mit Turt auf Twit Ones letztem Album Hay Luv' vertreten war, steuert Keys und Vocals bei. Slim. hat bereits Beats über Brownswood Recordings, Benoffee Pies und KO-OP veröffentlicht.

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

The word 'Icosahedrite' refers to the geometric figure icosahedron, and arises from the idea that the EP is an amalgam of electronic music styles with many other aspects of traditional musical genres, like jazz or blues. Metaphorically, those genres act as the multiple sides of an imaginary icosahedron. Something complex yet solid that sits outside of the conventional emerges as the final result. A1 'Phason Jazz' - This is a track where conventional jazz structures converge with electronica, and the influences Eduardo gets from Miles Davis and John Coltrane shine themselves. Twisted keyboards patterns mixed with delays and deafening effects form a place to get lost, and eventually repetition becomes hypnotism and turns into an automatic trance. B1 ' Mr Dewey D' - Mr Dewey D is referring again to Miles, and his first and second surnames.This song is much more influenced by Dark Comedy (aka Kenny Larkin) and all the records that he throws out on the french label 'Poussez' titled 'FunkFaker: Music Saves My Soul' Blues breath tirelessly in this composition where there is not much time for an objective analysis and where everything finally leads to an insane ending. B2 'Rhythmic Soundscapes ' - This track is, I guess, the most conventional part of the EP, Nonetheless, it retains special qualities. Floating pianos with delays are combined with bass sounds that go back and forth, forming a musical piece with techno sensibilities that I hope will give opportunities to the most daring DJs.

Our 5th release is all about the heart and soul of Analogue. The label owners and key players of the Athenian techno scene, deliver one track each with their own distinctive character and style.

Ebo Taylor is a legendary guitarist, composer, arranger and producer from Accra, Ghana. A leading light of Ghanaian music since the 1960's, Taylor is still touring and recording, and at the age of 80 will be releasing a brand new studio album on Mr Bongo in 2018.
For this album, Ebo joined forces with 12-piece band 'The Pelikans' — from the Cape Coast region of Ghana — led by Bessa Simmona, with rhythm guitarist Fifi Orleans Lindsay. A genuine 'holy-grail' of Ghanaian music and one of Ebo's most saught-after.
The album was released on the small Abookyi label. Named after a nightclub they played in called PELIKANS, and sung in English and Fante, this was the first album where Ebo sang on tracks, such as the classic 'Come Along', on which he also plays keyboard. This song clearly defined a new direction in highlife and has become a Ghanaian funk anthem. 'Come Along' formed the basis of Sadat X's 'Remember That' hip hop jam from 2011.
This official Mr Bongo re-issue is packaged in our new & improved heavyweight 'tip-on' sleeves, printed in Japan, pressed on high quality vinyl, with label designs and artwork as per the original release. Ebo's forthcoming new studio album, 'MIND YOUR OWN BUSINESS' is set for release in spring 2018, on Mr Bongo.

'Break at Home' is the collected recordings of the mysterious group '2 Katara' which was formed in Athens, Greece in 1978 by George Theodorakis (keyboards, percussion, vocals) with his close friend Dimitris Papangelidis (bass, guitars, percussion, vocals). TIP!
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This musical-duo recorded quietly over a decade between Theodorakis' family idyllic home studio in the Philopappou hill of Athens and the nearby studios Theta and SR. For some part, the tracks seem like adventurous experiments or even unfinished samplers or riffs the band starts to develop, but at the same time there are productions that are clearly meant to be the backbone of an album that never came out.

Into the light proudly presents 14 sun-soaked productions from the above-mentioned sterling material from 1981 until 1991 where the band split. This sixth installment is meant to be enjoyed as a journey from proggy pop to TR-909 drum driving compositions to Mediterranean disco-not-disco and further futuristic synth-scapes.

The many elements from the Greek traditional folk music - especially in 'I Can Not' which is an ambient take on a folk lament song from Epirus area and the reverse play recording of a Greek orthodox priest chant on their last ever recorded epic 17min track 'Greek lady' -, the unusual but clever combinations of colorful styles and the intense improvisation put the group in the first line of Athens' best kept secrets

Here at Scotch Bonnet Records we love Reggae music's rich heritage. Not only is it is as strong today as it ever has been, soundsystem culture has now spread to every corner of the world. To celebrate this we have compiled a few musically important releases from some of the key musicians and producers that have influenced and nourished Scotch Bonnet records since the start. Some have appeared on single, some are dubs that Mungo's Hi Fi couldn't stop playing on the Soundsystem, and there are some brand new pieces to keep it crispy fresh. The end result is Puffers Choice.

Robyn announces the RMX/RBN vinyl series along with a new remix of Be Mine by Mark E. The limited vinyl will roll out in pairs every week from September 29th. See below for schedule.

The RMX/RBN project saw Robyn invite some of her favourite artists in dance music from across the globe to remix key tracks from throughout her career.

Set of 5 limited Remix 12"s, with remixes coming from Cassius, Joakim, Axel Boman, Zhala & Heal The World, The Black Madonna, Mr Tophat, Wolfgang Voigt, Mad Professor Harry Romero & Mark E

Robyn announces the RMX/RBN vinyl series along with a new remix of Be Mine by Mark E. The limited vinyl will roll out in pairs every week from September 29th. See below for schedule.

The RMX/RBN project saw Robyn invite some of her favourite artists in dance music from across the globe to remix key tracks from throughout her career.

Set of 5 limited Remix 12"s, with remixes coming from Cassius, Joakim, Axel Boman, Zhala & Heal The World, The Black Madonna, Mr Tophat, Wolfgang Voigt, Mad Professor Harry Romero & Mark E

Swat's third release & DETROIT is in the house !

There are times in which you can clearly mark a producer's evolution.
When they stop inching towards growth and make a bold statement of change in capability and vision.
Such is the case with this EP from Detroit-based disco guru, Pontchartrain.

After a few years of steadily pushing out some significant pieces of work that have increasingly straddled the line between originals and edits, and nearly a decade of studio experience, his long overdue official house music debutante has arrived.

Featuring Detroit local soul artist, Coko Buttafli laying down some blistering vocals with a clearly positive house music message, on top of live percussion and keys, and bold analog drum rhythms, pontch has created a solid diva-house gem.
The sneaky festival-ready banger, 'Loose', performed, mixed, and overdubbed live, provides some fantastic contrast and versatility to the release.

A Mr. G-esque remix by DJ phenom Just Alexander and the musical journey of Topher Horn's evolving and deep version on the flipside make this a well rounded record that will undoubtedly stay in your bag for a good long while, and will find its way back in for years to come.

The annual Deep Love compilation has become one of our most important releases to showcase what Dirt Crew Recordings is all about. It gives us the chance to highlight and welcome new faces alongside the residents who keep the Deep music we stand for alive. This year more than ever we have artists from all over the World, from Japan to Canada and Lithuania to Austria represented. The man the myth...Mr. Nightcrawler himself is back with another masterpiece. True to his usual unique blend of many styles, Nachtbraker has delivered typically off-kilter 'Cobi Cabani' with crashes and sound design that punctuate a freaky bass and rippling lead. Dropping in for his debut outing on our label, Viennese resident of Sass club and founder of the 'Secret Crunch' imprint, Roman Rauch brings the filtered Disco House. Ripe with fruity percussion and deeply ingrained groove, 'Sweet Ears' breathes and builds keeping up energy to work bodies throughout the cut. Close friend of the Dirt Crew family and member of Detroit Swindle's Live super group, Lorenz Rhode is an extraordinary artist who's not only active in the House Music scene but also created his own Big Band, the Rundfunk-Tanzorchester Ehrenfeld. He gets right to it in 'On Top' a legit live key and bass jam with all the funk from a seasoned jazz musician. From across the Atlantic we have Toronto's Jesse Futerman teaming up with Dan Only, Jesse remixed Harry Wolfman's last EP on DC and is known for his laid back house grooves.

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
'India' includes the incredible 'Pontos De Luz' as sampled by Kaytranada on 'Lite Spots' - one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

Richy Ahmed's Four Thirty Two imprint continues to shine a light on the freshest talent emerging from the house music underground, and on the label's third release, the London based Senzala get to flex their muscle on a fine release, backed with a remix from Ahmed and Jansons AKA Lovehertz.

Having previously released on the French label Mr. KS & Friends, and Politics Of Dancing, the Senzala boys, otherwise known as Jonni Santos & Sam Holland, deliver the goods once more on the 'Phase' EP.

The title track packs rolling 909s and looping filtered disco riffs into its punch; never letting the energy levels drop. Vocal licks and techno-laced stabs drive this club-focused track fantastically, with a glossy production that really shines through. Richy Ahmed and Jansons come correct with a Loveherts remix; a heavyweight analogue bassline dominated the mix and the vocal parts slide down the arpeggiated riff as incessant synth stabs ramp up the heat, taking their remix right to fever pitch.

The Senzala boys grind out more solid house grooves on 'All For You', deploying disco samples and vocals that are filtered and twisted around the tough drums to great effect, whilst on 'Agora', the mood remains unfaltering as feel good riffs and warm keys wrap around Senzala's steady beat to complete a stellar release that's packed with energy and infectious vibes.

präsentiert das Bristoler Trio Elder Island elektronischen Leftfield-Pop mit Neo-Soul-Elementen, eklektischen Bässen und einem leichten Funk-Twist.

Finally, the battle is about to reach its thrilling finale after three exhausting rounds. Our pugilists are staggering on their feet and the bookies are running around frantically, taking the final bets. Will the Bad Guys suckerpunch the Good Guys into oblivion, or does team Good have an epic deathmove in store for its malevolent adversaries Amsterdam native Nachtbraker steps back into the arena for the fourth chapter in the saga. The Quartet Series label boss and Heist and Dirt Crew mainstay has defected to the bright and sunny Good Guys. Piano chords, chopper effects and toms are the main ingredients of his funk-laden and groovy energy drink. Better than steroids they say. Laurence Guy (Church, Rose Records) joins forces or heads in this particular case with a much-needed supplement that tugs on your heartstrings with its lush keys and deep pads. This London lad has been stirring up the scene with his flawless and addictive chords, not to mention the big support he's getting from maestro Move D. Will this dapper duo be strong enough to floor the misfits featured on the flip Great precaution is imperative with two heavyweights in the other corner. First mr. Tommy Vicari Jnr (Cabinet Records, YAY Recordings, AMMO84) comes barging in. This Sheffield veteran has been making killer cuts for years now and is about to step into the ring with his slamming snares, and wonkly wobbly bassline swinging around a phat kick. To keep both The Bad Guys feet on the ground LK (Shall not Fade, Hokkaido Dance Club) adds some extra meat with a deep, heavy bassgroove, while a sexy vocal and steady chords create that gangsta vibe that will boost the Bad Guys' confidence.

Double A-side from the legendary Brazilian disco-jazz-funk masters Banda Black Rio. Both cuts come from their brilliant 'Maria Fumaça' LP; an essential LP in our opinion, and one that we were delighted to be able to reissue in 2016.

Regularly played by the likes of Gilles Peterson and Theo Parrish.

Tight, tough drum grooves, funk bass, horns, guitars and keys feature on both tracks.

Cut loud and proud at 45rpm - as always - for 7'.

Passion for Jazz and Soul Music.
Reekee, a remarkable young and talented artist from Modena (Italy) not only plays the keys as an extention of his mind but his true and pure sound makes you feel warm and connected from first notes. A mixture of broken beats with soulful melodies & analog drummin' and reminds early Mr. Fingers tracks.
You often get a Nu-jazz feeling and can clearly hear the jazz influences between the funky House beats. Because it's so difficult to describe the feeling you get listening to his music, you should hear it yourse.

RAWAX proudly welcomes Mr. Lamont Norwood aka Dj Di'jital to the family! A true pioneer from Detroit!

Truly an old school Techno Bass jewel, DJ Di'jital has been a key player in the development of what some call the "Second Generation" of Detroit Techno. Having released on classic Detroit labels like Metroplex, Direct Beat, and Twilight 76, there is plenty of good reason why his name and his work have become so legendary over the years.

Influenced by early groups like Kraftwerk and Parliament, it was no surprise that the 80's fusion of Electronic Music, Funk and Hip Hop that brought about the Electro Funk sounds, would have such an impact on him. As a kid, Lamont Norwood aka DJ Di'jital became acquainted with the idea of mixing two songs together using tape decks, which while being limited, still gave him the drive and passion to pursue a career as a professional DJ. Over the years he played many different house parties and underground clubs, even spending some time as a Cabaret DJ.

Throughout this time, Di'jital became an incredibly skilled turntablist, quickly gaining the reputation of being a formidable force behind the wheels of steel. The year 1996 would prove to be quite a momentous one for Norwood, not only signing to the already well established label Direct Beat, but also becoming the official DJ for one of the label's finest and most important artists, Aux 88. Having already released his first EP, "Prototype", on Direct Beat, this would become a great opportunity that would help seal him as an icon of what was now known as the Detroit Techno Bass scene. Over the next few years,

Di'jital continued recording for Direct Beat, releasing some of the greatest and most unique Techno Bass classics to date, even doing a few remixes for some of Aux 88's most well known releases like "Electro/Techno", "I Need To Freak", and "Break It Down". Hit EPs like "From The Mind Of The Master", and "360 Degrees" became instant classics, still very sought after to this day. He also had some of his songs appear on some of the various Direct Beat compilations that were released between the years 1996 and 1999 like "Xperience De Bass II", which released "Radar2Bass", one of his most notable works, as well as the all time collector's album, "Techno Bass: The Mission".
Perhaps what may have been one of the biggest signs that his career was becoming exactly what he had hoped for, was the opportunity presented to him to remix Aaron Carl's classic "Down", which was released on the iconic Metroplex Records in 1998; Something that to any Detroit native would have been an honor and a milestone, given the reputation and level of success and influence that Juan Atkin's imprint had on the Detroit Electronic Music scene, as well as the global Electro/Techno movement.

Between the years 2000 and 2002, there was a small hiatus in complete EPs or albums being released by DJ Di'jital, although there were 2 different tracks released on the labels Bipolar and Studio iK7. In 2002, he went on to sign to another of Detroit's legendary imprints, Twilight 76, where he released 2 EPs, "Bass Programmers", and Di'jital's Revenge". In 2005, already a veteran and having amassed the necessary skill and knowledge needed to be a true beat warrior, Di'jital was now ready to join the resistance...Underground Resistance that is! Featured on the Interstellar Fugitives Vol. 2 compilation ( also later released as a 2xCD/DVD set ), Di'jital also released on the Electrocuter EP, which featured the previously released "Bang", as well as "Track 19".

In 2006, already well into the digital age ( no pun intended ), Norwood would release his first set of downloadable works, starting with an album called "The Prototype", on Twilight 76, which was completely unrelated to his first EP which was also called "Prototype". Recently, Twilight 76 has also released what is so far a 2 volume set of battle cuts dubbed "Electro Battle Tools".

The only known material that is known to be in the future for DJ Di'jital at the moment is a remix of Morphogenetic's "Techno Bass Is Back!", which was originally released as a free download to members of Technobass, but will soon be released on a 12"/Digital release that will launch the site's own label "Techno Bass Music". There will also be a follow EP by Di'jital, so stay tuned! Over the years, DJ Di'jital has proven to be an unstoppable force in the Techno Bass scene, tirelessly working to push the boundaries of Electro forward with his futuristic and visionary beats that have unleashed mayhem across the globe, not just in his published works, but also in his incredible DJ acts, where one can truly witness one of the few actual turntablists in this style of music. Expect more in the future as Di'jital's revenge continues to spread across the globe with his out of the ordinary approach towards Techno Bass music.