quête:re edits

We’re stoked to welcome back Medlar to Delusions for his third EP on the label and you’re in for a proper treat! One of the unsung heroes of UK underground house music, Medlar has released on Wolf Music, Wah Wah 45’s and West Friends. His remixes and edits for the likes of West End, Kon, Dele Sosimi, Glenn Astro, Disclosure and Billy Cobham always hit the spot with an authentic, raw and crunchy sound that work magic on the dance floor.

Here on his Interruptor EP we have 4 tracks which show off his range as a producer, taking in percussive tools, deep and dusty basement jams and blissful late night atmospherics. Lead track Interruptor is deceptively simple but devastating on a big system. Chopped up percussion, speaker wobbling bass and a heavy kick lay the foundation for crazy timbales and filtering syn-toms, all topped off with a familiar sample from back in the rave days.

Next up we have I Wish which features Kim Anh who delivers a brilliant vocal complimenting the low-slung disco drums, 808 percussion and fat bassline perfectly. This is our idea of what a modern day house hit should sound like. Raw and unpolished with a loose, un-quantized groove so you can feel the funk and a dynamic arrangement which keeps the energy high throughout.

Flipping over we have Cable Street which cranks things up with a techy house jam perfect for more peaks time sets. Once again, Medlar knows ex- actly how to make more with less and keeps the shuffling drums stripped back and simple stabs and modulating FX front and centre for maximum im- pact.

Finally, Turn Things Around brings a more 90’s deep NYC feel to the EP with floating pads, bouncing bassline, piano stabs and organ riff. Subtley epic and grandiose without being showy, this is a slow-burner that could just be one of those B2 tracks which become your favourite of the release.

Soopasoul is an enigmatic producer, whose purist approach to jazz, funk and soul music has resonated with DJs, break-dancers, music connoisseurs, critics and casual listeners alike. Since furthering his legacy by creating a hugely successful edits series, Soopasoul returns to one of the biggest cuts from his now legendary Jalapeno debut album Twin Stix - Brand Nu. The 142 mixes are the first versions of this now classic cut that were recorded and have a raw funk grit that became a little more polished for the album release version. Available in full vocal and instrumental versions, these alternative mixes showcase all the reasons why Soopasoul is a mainstay of funk & soul charts worldwide.

The cult MEMBERS ONLY returns with Chicago don JAMAL MOSS on WORST EDITS VOL 1. Culled from 20 year old VHS tapes restored using a baking method, these edits are real deal Chi-town badness with artistic psychedelic filtering of proto house & disco.

The next MEMBERS ONLY 12" returns with more face melting & wall sweating psychedelic New Wave edits. THE WORST EDITS VOL 2 includes the 4 tracks "I WANNA LUV U DIRTY", "PERVERSION", "OH OH OH YA" & "TAKE IT FROM THE TOP" originally recorded from 1999-2001. Real Chicago business!

Berlin producer Jack Tennis is the mastermind behind a lot of projects. He releases his own music under the name Hotlane (signed to Gomma Records) and spreads his Disco-Edits for UK’s influential Disco Label Midnight Riot (run by Yam Who!), Spa In Disco and Too Slow To Disco. He has an edit on every TSTD YACHT DISCO EDITS compilation so far, he was already part of TSTD EDITS 2 – Brasil with an edit, and last year he remixed SATIN JACKETS for TSTD NEO’s “The Sunset Manifesto” - compilation. The 4 tracks on this compilation are regular floor fillers in DJ Supermarkt’s DJ Sets, so it was time to give the ma proper vinyl release. Lots more to come!

(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

A simple idea in an over complicated moment. Strip away aesthetics and be artist centric, sharing and explore collisions, sounds and genres. Step out of comfort zones to release a series of EPs of broad, challenging and deep music.

Starting with The Proposal by A Strange Wedding, this Lyon based producer from the Worst label, builds on their "modern style" slow trance to create a label anthem, a template. Stretched Arp, hypnotic bass and searing melody, underpinned by ocean wide kick. Merci for the perfect beginning.

Datasal are next, as this Gothenburg's trio's debut arrives. Acoustics (Miyazawa flute / Fender bass) and electronics (Roland RS-09 / Korg Mono) collide; prog rock meets post punk meets dance; outside organised compositions to improvise to the beat.

Side two leads back to the origin. 84PC, the dormant Tel Aviv collective that developed out of the city's Michatronix Crew (featuring Katzele, Naduve, Asaf and Yovav), return with a previously unreleased remix from Khidja. Their "Welcome To The Pleasuredome" moment is peak time perfection.

To close Barcelona's Iro Aka arrive with another debut. Having dispatched edits on Hard Fist and 44,100Hz Social Club, their bubbling 303 is a tender dreamtime finale that points ahead.

After her stunning collaboration with Jim O’Rourke (Le Piano Englouti, BT055), Brunhild Ferrari returns to Black Truffle with Stürmische Ruhe, her first duo with Christoph Heemann. A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik) and Plastic Palace People (with Jim O’Rourke), and the precise cinema pour l’oreille constructions of his solo works. Created together in Ferrari’s Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into a intricately woven fabric of haunted electronics, unexpected edits and disorienting processing. Banging with the jarring thump of a slamming door (an element that will reappear periodically throughout the piece as a kind of punctuation mark), it is immediately obvious that concrete sound is used here in a free, poetic way outside of the strict confines of documentary field recording. The wind captured by Ferrari’s microphone roars and whistles, accompanied by thick clusters of wavering tones whose unpredictable rises and falls in volumes are synchronised with the bumping and thudding of windows and doors. At some points the microphone sound melts into a wavering low-bit digital smear before fanning out into broad, atmospheric depths. The cinema for the ear constructed here suggests not linear narrative or documentary, but an organic flow of cross-fades, double-exposures and abrupt cuts, a free-associative dream in which wind and water take on mythical characteristics. Throughout the piece's second half, layers of synthetic floating tones and pinging upward glissandi negotiate a constantly shifting balance with wind-borne whispers and rustles, at times dropping to silence, at others rising up with elemental force. As Ferrari explains in her liner notes, Stürmische Ruhe is a meeting of ‘completely opposite sound worlds’ in which ‘almost-violence’ is joined with a ‘reconciling harmony’. Reaffirming the infinite possibilities of the musique concrète tradition while avoiding its academic tropes, Stürmische Ruhe is accompanied by tri-lingual liner notes from Brunhild Ferrari and arrives in a sleeve graced with the beautiful art informel paintings of her father, Wolfgang Meyer Tomin. Cut at 45rpm for maximum fidelity.

A simple idea in an over complicated moment. Strip away aesthetics and be artist centric, sharing and explore collisions, sounds and genres. Step out of comfort zones to release a series of EPs of broad, challenging and deep music.

Starting with The Proposal by A Strange Wedding, this Lyon based producer from the Worst label, builds on their "modern style" slow trance to create a label anthem, a template. Stretched Arp, hypnotic bass and searing melody, underpinned by ocean wide kick. Merci for the perfect beginning.

Datasal are next, as this Gothenburg's trio's debut arrives. Acoustics (Miyazawa flute / Fender bass) and electronics (Roland RS-09 / Korg Mono) collide; prog rock meets post punk meets dance; outside organised compositions to improvise to the beat.

Side two leads back to the origin. 84PC, the dormant Tel Aviv collective that developed out of the city's Michatronix Crew (featuring Katzele, Naduve, Asaf and Yovav), return with a previously unreleased remix from Khidja. Their "Welcome To The Pleasuredome" moment is peak time perfection.

To close Barcelona's Iro Aka arrive with another debut. Having dispatched edits on Hard Fist and 44,100Hz Social Club, their bubbling 303 is a tender dreamtime finale that points ahead.

Mr. K is back again with a double-sider that tackles the ups and downs of love and does it in fabulous style with two solid soul classics.

Yvonne Fair was a veteran of the soul music world when she finally got the chance to record her first full length album in 1975. She had recorded multiple singles under the guidance of James Brown (her “I Found You” was reworked by Brown into the chart-topper “I Got You (I Feel Good)”) and, after leaving the JB camp for the auspices of Motown, a clutch of 7-inches with Norman Whitfield. These were gathered together to form her first (and only) full-length, but before the album was completed a final song was added to fill things out. This last minute touch would turn out to be the crowning achievement of her career. “It Should’ve Been Me” didn’t seem to be a notable addition at first. The song was originally done by Kim Weston a decade earlier and then by Gladys Knight. But Fair’s version had something special. In addition to the novel addition of a percolating drum machine pulse, Fair imbued the lyrics with a heartfelt sincerity and gruff emotion that touched listeners in a way that other versions had missed. Released as a single in the UK in late ’75, the song rose to the top ten of the British charts by February of the following year, inspiring Motown to release it as a US single. The song never replicated its UK success in the States, but went on to have a long life as a staple of drag performances and gay club life. Gay club life being the heart of all great club life, it’s only natural that the impact of the song has continued to spread, from Adeva’s hit house version in 1991 to Miley Cyrus’s recent revival of the song. Danny Krivit pays tribute to this storied history with his own version, a simple yet effective edit that stays true to the original but gives DJs a little more room (and fans a little more time to sing along!) than the all-too-brief original.

Continuing on our theme of lovelorn loss and redemption, Mr. K turns his attention to the New Birth’s “Brand New Lover” for our B-side. While the original slowly moves from the tentative, immediate aftermath of breakup to the eventual positive path forward, Krivit’s edit jumps straight to the joyous resolution to find new love, riding a delicious call and response chorus punctuated by signature breakdowns from master producer Harvey Fuqua. Danny’s edit provides a natural uplifting opportunity that never stops building over the course of its extended five minutes. Until now, the track has only been available on the group’s debut 1970 full-length, and never on a 7-inch single.

As always, this release has been mastered to the highest standards and is certain to find a spot in the bags of discerning listeners and DJs alike.

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

Midnight Runners comes to Razor-N-Tape with a 12" of Southern Hemisphere disco gold!

Harry Septiandry has been gaining traction with standout releases on Darker Than Wax and Star Creature under his Munir alias, and for his RNT debut he serves up four extra special reworks of obscure disco from his native Indonesia.

The source material would stump even the most savvy of ears, but Harry finds the universal in these rare gems, augmenting the grooves and preserving just the right bit of camp for super sunny spin!

Italo disco meets Balearic ethno-funk in the third installment of re-edits from DJ collective Siffleur. Side A is your leftfield, sensual 80s nostalgia, your introspective, post-multiverse ‘club tropicana’. Side B will take you on a dreamy night-journey through city streets where love is a pink neon light.

2026 Repress

Casual Connection is back with another double dose of classic mashups over more recent instrumentals. Back to back club Bangers.

The third release on the Misadventures imprint sees Haners return with three tracks that won't disappoint.

Adeen Records comes with its series of funk, soul, dsco and jazz only edits label called The Bird. And it's first releases comes from label head Camille and Spanish graffiti artist and dj Cad73, and edited by DJ Boring. These two 7" gems came from each selectors childhood memories from living in Detroit and Barcelona respectively. While Camille draws such tunes as "Stop Bajon and Carino" from influences Detroit, Cad73 pulls "Shakedown and The Vulture" from early radio and parties growing up around Baecelona. Already a staple series amongst Adeen's catalog, This "The Bird" series may be the label we've been craving.

First time on vinyl for this album. Proto Jazz-Punk multi-genre splatter album, released on CD in 1993, My Wife Doesn’t Understand Me is available on vinyl for the first time as a double LP, playing at 45rpm for superior sound quality. The accompanying download includes radio edits of live favourite 6-8-1 (The Burn-Up) and Blue Funk, plus Ructions (60s Stereo Mix) and Qualm-Free Zone. A statement of intent from the off, this is an album first and foremost. No singles, a piece of work to be listened to as a whole - from short shards of humorous observation (Cover Versions), politics (Margaret Thatcher We Still Hate You), straight-as-a-die covers (A Taste Of Honey and Jean-Pierre) to the closing Musique Concrete of the title track, prisoners were never taken. Terry Edwards and The Scapegoats look forward to the vinyl edition of My Wife Doesn’t Understand Me to bemuse, baffle and delight once again as it did on it’s release when Acid House was on it’s way out and Britpop was on it’s way in.

Red Vinyl repress



Booyaka! Wah gwan junglist Rasta Vibez ah bak wid a couple of irie edits that will make ya pum-pum batty move and shake. Big tingz once again that will make di duppy man dweet. Better cop it quick!

10" Red Vinyl + Hand Stamped

Eastside Edits is back with its follow up to last year’s massive 001 release. After gaining support from all the top open format DJs and Donut slingers across the globe, we present you the label’s second record - 002. Bringing you a unique niche sound that is upbeat,
dance floor friendly and will get the crowd moving. This record features two stellar veteran artists with impressive discographies, both making significant impact in their respective scenes.

Side A is brought to you by Toronto’s very own Jackin House legend. With his signature hardhitting drums and funky soulful sound, Demuir has taken the music world by storm. Touring globally at some of the most sought-after nightclubs and festivals, as well as releasing music on the hottest labels in dance music. He has been featured as Beatport’s Hype Artist and has been awarded the #1 Jackin House Artist of the year multiple times. He takes one of the top Hip Hop
songs of 2020 and injects his personal signature. This raw, edgy edit is an absolute weapon, not to be missed!

Side B is brought to you by a Canadian native, residing in the USA. When it comes to the 45 community DJ Double A needs no introduction. He continues to drop release after release on the top 45 labels in the game. He’s the man behind Mountain 45s, with releases on Friday’s Funky 45s, Private Stock Records and Heat Rock. Double A premieres on this label with an edit that puts a modern spin on an 80s classic. This rework is guaranteed to have the crowd singing
along and humming the vocal well after the show is done. It’s truly a DJs must have

 With their duo debut, Dean Spunt and John Wiese invite you to experience
the frenzy of percussive space and discreet sound found inside ‘The Echoing
Shell’.
 This is the first official collaboration between the two veteran music-makers,
though their connection goes back to 1999. As John recalls, “Dean was in a
high school arts program at CalArts. A friend and I were recording the first
Sissy Spacek demo in the design studios there, and taking a tape to my car
over and over again to check the mix. Dean was walking through the parking
lot with a Locust shirt on, we said hello, and he immediately got into a car
with two strangers to ‘listen to a tape’.”
 The tape-listening ended well, apparently. Dean and John became friends
and fellow travellers in LA circles and beyond: in 2005, John did a remix for
Dean’s first band, Wives; in 2007, Dean played percussion with Sissy
Spacek’s 13-Tet Los Angeles; John toured with No Age several times and
collaborated live with them in 2010.
 Under the Sissy Spacek name as well as his own, John’s recordings for his
own Helicopter label and many others kicked things off for him around the
end of the century; since then, he’s been constantly engaged in solos and
collaborations on record, performances, and installations around the world.
 In addition to Dean’s ever-growing discography with No Age, he curates his
own label, Post Present Medium. In 2018, Radical Documents released
Dean’s solo debut ‘EE Head’, which explored concrète and experimental
techniques in a four-part, album length piece.
 ‘The Echoing Shell’ is born of Dean and John’s shared understanding, using
John’s process common to Sissy Spacek: elaborate sound-collage works
using source material originating from punk, hardcore and improvised music.
A series of impositions, tape manipulation and edits recompose the material,
cracking open the crust of the source, freeing its implied guts to steam forth
in gushes of extreme noise. On ‘The Echoing Shell’, this is as often noise as
it is extreme intimacy, seeming at times to be sourced from within Dean’s
drumkit, at other times appearing to emanate from the capsules of
microphones and the circuits of the signal path itself.
 One may read these collaged sounds as abstraction, but there is a unique
language conveyed in their assembly, forming something like word-shapes
and meaning. And intention: the two side-long pieces, comprised of many
short sections, form a linear whole, creating alternately ripping and
discriminating music - and meaning - in the process.
 ‘The Echoing Shell’ is a fantastic conception in contemporary musique
concrète, combining incendiary post-rock power, dry humour and astonishing
depth of field. Whether projecting the sound through headphones, ear buds,
bookshelf speakers or your own personal amp stack, crank up ‘The Echoing
Shell’.

NO.2 on the groove charts!
Following a year that saw the 50th entry in the long-running series released to wide acclaim, DJ-Kicks returns in 2016 another landmark edition. Iconic Detroit DJ and producer Moodymann is at the helm for his first ever multi-artist DJ mix compilation. Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music's most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.
Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon's aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard-to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house. In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, DJ-Kicks showcases the taste, skill, and soul of a dance music original.

Stunning debut release from RAFRAM aka Irdial legend Ramjac Corporation and the Toronto legend (& honorary Glaswegian) Raf Reza.
300 copies only, full printed sleeves plus riso insert.

Orphic Apparition is a new label born out of a transatlantic meeting of minds. Facilitated by a long, hedonistic party in one of present-day London’s ‘meanwhile use’ venues Grow Tottenham, Canadian producer Raf Reza and British acid house luminary Paul Chivers spent a precious day in the studio to record a 3 hour straight to DAT session before Reza's return to Canada. The result of this spontaneous yet intuitive collaboration blurs the lines between Chiver’s long-standing Ramjac Corporation alias and Reza’s genre-spanning approach to dub, breaks and house styles. Part of the early 90s rave scene and an important member of the blueprint-setting Irdial label, Ramjac locks heads with the self-professed ‘lazy music guy from Toronto’ to adapt their studio session into five separate mixdowns.

‘In The Grow’ begins with a bouncy, cut-up sounding Errorsmith-esque rhythm, the recurring fright night melody that distinguishes the record coming in all quick and powerful. The A2 ‘Rotten Mix’ offers a more traditional house approach in its composition, with dub FX and a nice DJ friendly outro. On the final uptempo choice the pair opt for a head-scrambling electro take. Choose your fighter! The ‘Swampy Dub’ on the flip really dismantles everything we’ve heard prior, slo-mo drums allowing a much different DJ experience and altering the freaky synthetic propulsion into an almost modern classical sound. A little like Paul Dresher’s eternal ‘Channels Passing’ (tip). Combined with the other edits this version almost becomes a totally different track. The final ‘Rootless Dub’ gives its clues in the title, removing all the tough drum sounds and allowing for an ambient decompression.

Orphic Apparition will return soon.

Having been previously released digitally and on CD back in 2009. We decided RSD 2022 was a great opportunity to release this seminal album on Red Transparent vinyl for the first time.

‘Don’t You Remember The Future’ is the debut artist album from Jamie Jones, peering into the coming apocalypse with a body-shaking, teeth-grinding, tripped out fusion of sound on Crosstown Rebels.

There are some talents that remain inconspicuous and then there are some you can’t ignore. Jamie Jones is the latter, quickly rising to superstar status in underground dance circles over recent years. Releases on Crosstown Rebels Hot Creations, Defected, Cocoon, Get Physical and BPitch have catapulted him to become a cult figure and he is widely admired for his true originality. From his debut single ‘Amazon’, to his albums' anthem ‘Summertime’, his unique sound has won him worldwide audiences and this album has been widely anticipated as one to change the face of current house music.

With ‘Don’t You Remember The Future’ Jamie Jones delivers an album of “intergalactic techno house, where old school prince meets cybertron.” A seamlessly blended up-tempo mix filled with eerie and energetic moments. Featuring ten brand new tracks from Jamie Jones, alongside this years dance floor anthem ‘Summertime’ and the current ‘Galactic Space Bar’ - which features the vocals of Egyptian Lover - the album’s twelve tracks are stitched together in an entangled web of beats and bleeps, available digitally as separate edits.

Cosmic cuts such as ‘Mars’ and ‘Deep In The Ghetto’ create a new dimension through soaring synths and idiosyncratic samples while the sonic dance floor weapons ‘Half Human’ and ‘This Is How’ release the lethal disco master within Jamie Jones. The jacking, peak time moments of ‘Summertime’ and ‘Sand Dunes’ produce a current take on the early acid house sound and each step of this peculiar story solidifies the strange notion of being within an undiscovered time and place. ‘Don’t You Remember The Future’ features the guest vocals of a variety of musical souls, checking off some of Jones’ remote influences and revealing the greater versatility of this skillful artist. Norwegian oddball duo Ost & Kjex feature on the anthem, ‘Summertime’.

The seductively charged ‘Absolute Zero’ unmasks the talent of London based DJ, producer and vocalist Alison Mars (AKA Alison Marks), resulting in a beautifully epic and mysterious after hours track, and the toxic ‘Galactic Space Bar’ features live vocals from one of the creators of the electro scene, The Egyptian Lover, an old hero to Jamie Jones through early rap cuts like ‘Egypt, Egypt’ and ‘I Need a Freak .’ ‘Don’t You Remember The Future’ vinyl release is the album that brought the future into the present."

Ltd to 100 copies

Yearly compilation album RADAR by KEROXEN, introducing the second volume in the series of themed based albums showcasing the talents and misfortunes of carefully selected musicians/bands based in the Canary Islands.

Where Radar Vol.1 (KXN012, 2020) focused its sights on rock oriented music, Vol.2 looks at the more experimental, free flowing side of electronic and sample based music, also Made in Tenerife this last year (2021).

The format stays the same as Vol.1: 4 different artists are invited to contribute 2 tracks, no rules other than do their own thing. The result being an extraordinary amalgamation of various genres and styles of the electronic music cannon including: smoky dub beats by King L. Man, tropical casiotone divagations by Usted, inverted & polyrhythmic workouts from the Tupperwear duo, ultra precise dub-tech-2step edits by Postman and organic psychedelics by freak trio Lagoss.

Yet another crucial document from a region you usually do not associate with forward thinking music, more than a simple compilation, RADAR 2 unveils the thin veil of new and uncompromising music being produced in and around the orbit of the Keroxen Collective.

It seems the Atlantic isolation works as a catalyser here, judging from the copious amount of different and challenging music we’ve been seeing from this corner of the world over the last few years. We invite you to dive with us, in the wild remote tropical waters of RADAR vol.2.

Håvard Nordberg Funderud - guitar and 12-string guitar Lauritz Heitmann Skeidsvoll - saxophone Martin Heggli Mellem - drums Karl Erik Hornsdalsveen - double bass Henriette Eilertsen - flute Back in 2020, Kafé Hærverk, Oslo's live hotspot for a wide range of jazz and experimental music invited Master Oogway to do monthly concerts from August to December, bringing along a guest for each occasion. Two had to be moved to 2021 due to Covid restrictions, but the other three were recorded for possible use later. Initially we thought about doing a "best of" from all of the recordings, but after further listening it soon dawned on us that the concert with Henriette was nothing less than magical. To make room for the 45 minute vinyl edition, we had to drop one of the five pieces that were played on the night, and also make two minor edits. Other than that, this is what was played, there are no overdubs or cosmetic treatments. The album was brilliantly mixed in Athletic Sound by Dag Erik Johansen. Henriette Eilertsen (28) is part of the fertile and exciting environment around the Motvind label, and a member of Billy Meier and Andreas Roysum Ensemble. She released her solo debut "Poems For Flute" on Motvind in 2021.Håvard Nordberg Funderud (28) finished his bachelor at the Norwegian Academy of Music in 2018 and also studied in Gothenburg and Copenhagen. He is involved in several projects, Master Oogway being his priority. Lauritz Lyster Skeidsvoll (28) and Karl Erik Horndalsveen (27) are both educated from the same academy in Oslo as Håvard, while Martin Heggli Mellem (25) is educated from the jazz program at NTNU in Trondheim."Happy Village" is Master Oogway's third album, their second on Rune Grammofon. The music on the previous outing two years ago ("Earth And Other Worlds") was all written by Håvard, while the music on "Happy Village" is written by Karl Erik, one track co-written with Håvard. "Happy Village" finds the band in a more lyrical and exuberant mood than before, in no small part due to Henriette's beautiful contributions.

If we are to accept spiritual reincarnation, why not cultural ?

A rebirth of the cool, the sonic samsara of enlightened, hedonistic moments...

BEATCONDUCTOR "and his famous All-Star Orchestra" drop 7 remixes/reworks of "chart topping hits from the day!". Some killer new wave and classic rock tunes reworked & re-edited by the prolific Swede to marvelous effect. None of these re-edits have been released on vinyl before. Full pic sleeve. Limited One-Time Only pressing.

After an awesome mixtape here is the first volume from a series of maxis by Nabil Vortex !

As a tribute to these masters of the underground and to make you dance to fresh sounds, from Maghrebian Raï to Chaoui, or Arabic music, Nabil’s new tales will take you on a fantastic travel trough time and space.

As pieces of musical curation go, Kenny Dope’s reimagining and reediting of the Wild Style breakbeats is outstanding. While the music from the ‘Wild Style’ OST is truly seminal, the story behind it is even more fascinating.

Underneath the voices of important rappers from hip-hop’s first wave – Cold Crush Brothers, Double Trouble, Rammellzee, Busy Bee and more – were a selection of backing beats that have underpinned and influenced a whole lot of hip-hop ever since.

It would be easy to mistake them for genuine breakbeats dug out of crates, but they’re not. Overseen by hip-hop impresario Freddie Braithwaite – better known as Fab 5 Freddy – in collaboration with Blondie’s Chris Stein – the songs from the Wild Style soundtrack are all unique creations intended as a homage to the early breakbeats.

Drummer Lenny Ferrari – who had played for Aretha Franklin before emerging on the punk scene – and bassist David Harper played many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound. They – and Chris Stein – weren’t even in the same studio at the same time.

Kenny Dope, a long-time fan of the music, later acquired the original reel-to-reel tapes from Charlie Ahearn, the film’s director. Using the Wild Style breakbeats – many just a minute or so long – he transformed them into longer edits that give them more room to breathe. ‘Down by Law’ and ‘Subway Beat’ are two of the most famous, breakdance classics that summon up visions of graffiti’d trains speeding through the South Bronx.

It was certainly unpredictable that a legendary jazz drummer would record one of spiritual disco's most revered songs twenty-three years into his career, but that's exactly what happened when Idris Muhammad laid down the epic "Could Heaven Ever Be Like This" in 1977. Hailing from New Orleans, Muhammad always had more than a touch of funk to his rhythms, and by the late '70s his collaborations with master engineer Rudy Van Gelder on recordings for the CTI and Kudu labels had gelled perfectly with the reigning jazz-funk sound of the day. Arranger Dave Matthews (famously part of the James Brown stable) collaborated with lyricist and former Long Island record store clerk Tony Sarafino on writing the song, which on the original recording unfolds over a nearly 9-minute build. Appearing at the crest of the disco movement, "Could Heaven Ever Be Like This" was an immediate hit with David Mancuso and the attendees of his loft parties, quickly spreading to other venues and even making a small climb up the Billboard R&B charts. For this new issue on Most Excellent Unlimited, Danny Krivit, whose own career as a dancefloor orchestrator from the DJ booth has paralleled the timeframe of the song's existence, has replaced the original loose introduction with a mix-friendly steady groove that maintains the unstoppable pulse of the song while maintaining the cathartic mid-song break and giving the track potential for even more momentum.

Another percussionist is responsible for our flip side track, "Magic's in the Air." Vince Montana was not only an in-house arranger and producer for Philadelphia International and other Philly soul labels, but was an accomplished vibraphone player. His talents are on display and doubly emphasized by Mr. K in this overlooked cut from Ronnie Walker, a falsetto singer who draws a rather strong comparison to the best songs of fellow Philadelphians Blue Magic with this uptempo, subtly synthy 1975 track. Never having appeared on a 12-inch, and indeed never having appeared even on a full-length album, Krivit's edit is the first extended mix of "Magic's in the Air" to date. Alongside "Could Heaven Ever Be Like This," itself notoriously difficult to find in 12-inch form, this latest from MEU's long running series with Mr. K is a bonafide must-have for the discerning DJ.

In February of 1976 Eddie Carmichael left the group “The Voshays” after catching the bandleader/manager stealing from the band. Derry Shepherd and Duncan Bethel left at that time also. About a week later I asked Derry if he would be interested in starting another band and he said sure. At that point Duncan Bethel agreed to participate and he recruited his friend Flynn Emanuel to play trombone. Derry was the manager of the cafeteria at Sears Department Stores in The Pompano Fashion Square Mall and he met Sandy Ficca who was the manager at Chess King Men’s Clothing Store in the same mall. Sandy also agreed to join the group and we auditioned bass players and chose Dave Segal and only one keyboard player auditioned and that was Bob Groszer. We now had all of the personnel for the group and we commenced rehearsing in the recreation center in Pompano Beach, FL at Westside Park. We did a few “Chitlin’ Circuit“ gigs to fine tune the band and music and then moved over to the beach circuit. While there we would perform spring and summer months at “The Ocean Mist” on the Strip in Fort Lauderdale, FL and for the fall and winter months the Big Daddy’s 8600 Club on Miami Beach. After 18 months of constant gigging I suggested that the band go into the studio and record some original music. Now all we needed was some serious financial support and songs. I met a man by the name of Jerry Bullard and convinced him to back the project. We formed our own independent label “Get Off Records” and publishing company “Situated Music”. At that point Dave Segal and Sandy Ficca left the group and Bruce Saddler who was the drummer for The Voshays joined us on the drums for the first two recordings. Sandy Ficca returned as drummer and brought in his old friend and bandmate Daryl Walker to play Bass on five of the six remaining songs. We recorded the entire album in five days at SRS Studios and Triad Studios both in Fort Lauderdale, FL in August of 1977. The first single “Give It Up (Let Yo Funk Fly Free) was a winner released only in the New York tri state area where in two weeks it reached number 16 in the top 100 and was poised to go number one nationwide on the R&B charts in the next two weeks. Henry Stone, owner of TK Records in Hialeah, FL wanted to sign the group as did many other major record labels including Maurice White of Earth, Wind & Fire. But the usual problems of the music business reared its ugly head and the record was pulled from all radio airplay and the group who became disenfranchised with the business of the industry decided to call it quits. Derry Shephard went into Gospel Music production, Sandy Ficca went on to become the drummer for the Pop/Rock recording artists “Firefall”. Daryl Walker is a session player and music teacher, I did studio sessions and played in several cover bands and toured internationally. Bob Groszer toured with Sly Stone and other legendary recording artists. Dave Segal went on to start New York Bass Works in New York. Flynn Manuel became a music teacher in The Broward County School District and Bruce Saddler and Duncan Bethel left the Music industry completely. We were young and not good business people at that time and did not understand the rules of do’s and don’ts of the music industry. But we had three talented songwriters, a great arranger, a killer band and all the financial support that we needed. Looking back if we only had an experienced manager I truly believe Mirror would have gone on to create some great music over the years that followed.
Peace and love all the time,

It's a little known fact that in 1969, Motown Records boss Berry Gordy organised a holiday trip to Jamaica for his label's stars. It's even less well known that while they were there, a number of those same stars worked with an up-and-coming local producer to record versions of established hits over instrumental riddims from the newly emergent reggae genre. Unfortunately, perhaps due to the plentiful supply of herbal entertainment during the recording sessions, the masters were believed lost. Until now. Happily, their recent re-discovery means you finally get to hear Uptight Boss and Beg For A Dollar - the massively crowd-pleasing consequences of giving a brace of mid-sixties Motown classics the boss reggae treatment!

Alright, maybe it didn't go down like that. Maybe the sound of this release was born instead out of people occasionally mishearing the name of Mako & Mr Bristow's 'Stank Soul Edits' series as 'Skank' Soul Edits. Which got them thinking. What would 'skank soul' sound like? Hello Trojan – meet Motown. Mojan? Trotown? Either way - reggae most definitely got soul!

Marc Rapson is a man of many dimensions. From rocking BBC's Maida Vale and Later with Jools Holland as part of Ben Westbeech's touring band, to releasing stellar re-edits of Marvin Gaye and Sarah Vaughan to the acclaim of Gilles Peterson, Marc has spent the last decade quietly building a following amongst those in the know. Dark vs Light seamlessly blends crunchy, low swung Hip Hop beats with Marc's jazz inflected Fender Rhodes and synth sounds. Not one to be confined to a singular style, Marc also fires up the sampler for tracks such as 'Click Loud', combining surgical chop skills with live instrumentation. Dark vs Light is the product of a mind that grew up on Ahmad Jamal as much as A Tribe Called Quest: the jazz pianist with a passion for raw beats. This first time on double vinyl complete edition includes all tracks from the now out of print EP along side additional bonus cuts from the original sessions featuring MC Replife as well as a dope cover of a classic Roy Ayers track. A great way to help celebrate Futuristica’s 15th year!

The PINA Crew return !

An the A side we have a deftly extended Disco-Rock workout that crescendo's perfectly for maximum floor-frenzy.

Over on the B, we're treated to a wonderfully sleazy, vocoder punctuated cosmic throb... Simple, effective jams on limited edition 7"
Floor food for all moods...

Three locations. Three pianos. Three hours on each. I was told where and when the piano would be ready. I would go, play, and leave. Very little was said. All pieces were improvised. There were no demos, run throughs, re-dos, or edits. At times I was responding to the natural reverb of the spaces, as well as the effects and sound treatments that Mark was adding in tandem with the performances.

What you hear is what happened there and then, at the end of the challenging year that was 2020. Kevin Hearn is best known as a multi-instrumentalist from Barenaked Ladies, the multi-platinum selling band he's played with for almost two decades. One of the most respected Toronto musicians of the past 25 years, Hearn's solo albums take the listener on a journey of boundless creativity often
driven by adventure and experimentation. 'There and Then' is played at 45RPM, and is intended to be enjoyed on the warmth of vinyl, but will also be released digitally.

"It's fun for me to make music that doesn't have to fit a certain criteria, whether it be regarding the style or sound, or who is playing it. When I make my own records, I can follow my heart and curiosity." - Kevin Hearn

The followup to 2019's 'Calm and Cents', which was Juno-nominated for Best instrumental Album of the Year.

This previously unissued 45 came from the esteemed estate of Don Davis, Detroit label owner and legend. Engineered by Ed Wolfdrum who recently passed away.

Not too much is known of The Michigans. Probably a one time demo on a view to getting a record deal.

"Look At My Back Wheels" is a raw edged funk track with incredible breaks and baselines. The vocal content is a little risque so use your imagination i guess.

"Its All Coming Back To Me Now" sounds like it could have been Ocean Colour Scene or a Paul Weller outtake. Very early 1970's Blues influenced Soul Music

Chicago’s dynamic duo Al & Tone (B. Nimble) return with 2 funky disco grooves on a limited 7 inch. The AL side features "All the time" a primetime dance floor tune showcasing serious brass. The Tone side offers the disco funk jam "Run it" which rides a wicked bassline

There's naturally much to enjoy on the latest volume in Africa Seven's A7 Edits series, which pairs original - and usually obscure - old Afro-disco and Afro-boogie gems with fresh 21st century edits.

This time round, the A-side is all about Kemayo & K System's piano and horn-heavy disco-funk jam 'Biram', a two-minute blast of dancefloor exuberance that Phillip Lauer cleverly re-imagines as loopy, locked-in chunk of Afro-disco/disco house fusion.

Over on the flip there's a chance to savour Afro National's heavy, low-slung stomper 'Push Forward', a cut that brilliantly adds chanted vocals and Hendrix style guitar solos to a sweaty, non-stop groove. Al Zanders does a great job in ratcheting up the tension and heaviness on his accompanying club-ready extension.

Rare Groove Spectrum Vol. 2 is another solid collection of re-works and re-imaginings taking in a broad range of classic tracks, traversing jazz funk rarities, balearic digs, latin groovers and more. Backed by a stellar group of Melbourne musicians including members of The Bamboos & Menagerie, Lance continues the tradition of creating "live re-edits" demonstrated on the initial volume - all pulled off with an inimitable style and playfulness, though always with an obvious love for the foundations.

As Lance says: "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band"

From Carly Simon through to Mongo Santamaria via Marcos Valle and Pat Metheny - and following the championing of Rare Groove Spectrum Vol. 1 by the likes of Gilles Peterson, Craig Charles, Jazz FM and more - this second volume of Lance Ferguson's Rare Groove Spectrum is sure to hit the sweet spot.