Suche:rhode

Gentle waves lap the soft white sand. The limitless ocean fills the view as the sun slowly sinks below the horizon. As the day ends in blue and orange tones, the heat begins to subside, a sure sign that the slow evening migration from the beach will soon begin. A pleasant, yet formidable music comes from the radio tuned into a frequency transmitted from Paris. Maybe it was written and recorded in the 70s, or maybe it has simply soaked in that aesthetic all the way down to the pauses. It doesn't really matter. Delving deep to explore the roots of Brazil’s musical tradition, the Camarão Orkestra has tapped into Candomblé and its rhythms. Born on the drums of enslaved Africans in a ritual that invokes numerous deities, they lay the foundation for this new album, Nação África. The eleven musicians, guided by Amanda Roldan’s silky voice and guest appearance by Anthony Joseph (“Canto De Bahia”), explore and embrace the murmuring polyrhythm of Brazilian percussion instruments, vibrating berimbau and squeaking cuícas, pouring their tightlywound funk bass into the groove and letting their jazz fly free, together and solo. The seven nonchalant tracks get your hips swaying, whether you’re in a comfortable armchair or surrounded by other dancers. They take your mind far away, on a journey paved by analog synths with Fender Rhodes crystals to the horizon where the sun’s last glimmer has finally faded away. The brass section’s shiny bells, valves and keys reflect the images and ambiance of the soft Brazilian night air.

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

Wan Chai Records is a Hong-Kong based label, specialized in rare Asian records and quality reissues.

For their first release, they wanted to highlight a promotional record released at 500 copies only in Hong-Kong for a famous Soda brand.
It was offered with a pack of bottles in 1977 and never been
released.

Produced and arranged by Noel Quinlan, this Album is a mix of
Funk and Soul covers. The result is an awesome LP including
groovy covers, from the classic Lowdown' by Bob Scaggs, to a
Funky I Shot The Sheriff' by Bob Marley with a deep Fender
Rhodes, and 12 other outstanding tracks.

Apollo are delighted to welcome Steve Legget & Mark Hand to the fold with their lush new single ‘If You Cannot Try’ featuring the dulcet vocals of Greg Blackman. Originally released as an uplifting bumping house track on Ramrock Records Blackman sent the stems of the release to longtime collaborator Steve Legget for a rework. Legget tore the original to pieces, deconstructing it into a much more ambiguous form. ”I’ve never been a fan of a chorus in a song,” Legget muses. "I like songs that are not direct that leave room for your imagination - Mark and I ended up building a new song around the texture of the original.”

Hand and Legget met in the early 90s at the Northern College of Art in Middlesbrough, and have collaborated at various times in the intervening years, through a shared love of Detroit techno, experimental electronic music, jazz and funk. Their creative process involves sending audio files back and forth - “The release was written in collaboration over the internet Greg in Colchester, Mark in Hartlepool, and me in St Albans."

Hand added spaced out textures and riffs from his collection of vintage Fender Rhodes and classic synths - taking the track into sunny space funk realms that comes on like a lost release from joe Claussell’s Spiritual Life label or Basic Channel jamming with Herbie Hancock.

Using their new version as the seed - Hand decided to try his own ’Teesside Techno’ version - "I wanted to give the track more of a 'machine funk' vibe with my rework” he explains. “I generally like to work by jamming with hardware - the bass line is generated by triggering the arp on my Juno 6..using triggers from a TR606 kick drum and hats replaced by a TR909.. the result being more of a jackin' electronic funk mutation!"

This continuing game of musical pass the parcel has indeed born some juicy fruit -

Getting stuck into the new year with a fresh, contemporary jazz attitude, Rocafort Records are proud to present the Kumadé EP from exciting Swiss-French quartet KUMA, led by keyboardist Matthieu Llodra and saxophonist Arthur Donnot.

Confidence, rhythmicality and solidity are the first impressions that hit you from this tight outfit of young but highly experienced musicians. After nine years of holding down a 10-night residency at the prestigious Cully Jazz Festival, Llodra and Donnot have honed down their skills in front of a live audience making tension, pacing and release their speciality in compositional strategy. Grooves and moods are created with just the right amount of rise and fall, push and pull, melodic catches and improvisational wanderings.

The EP is well balanced out with two spaciously laconic, ethereal tracks - Alfama and The Core - that could easily belong on some ECM-inspired soundscape, juxtaposed with Kumadé and I.G.A.T.F. that pack a fuller punch, fat and chunky in all the right places, hinting at a 1970s style George Duke at his funky-fusion best.

Despite a whiff of nostalgic reference, rest assured that the KUMA timbre is fresh and exploratory, as innovative and curious as any protagonist from the current UK jazz explosion. Keep an ear out for these young Jedi masters, all of them at the top of their game. More assured, impressive releases are due out this year.

Matthieu Llodra – Fender Rhodes

Arthur Donnot – Sax

Fabien Iannone - Bass

Maxence Sibille – Drums

Zacharie Ksyk – Trumpet (guest on Kumadé").

Bastard Jazz is proud to present the sophmore solo album by one of the gems of the New Zealand underground soul scene, Isaac Aesili. Woven through electronic soul, with threads of jazz, funk, R&B and house music, Isaac's 'Hidden Truths' is the stylistic unification of all his previous projects (Karl Marx, Funkommunity, Sorceress) into a dazzling and diverse body of work. Three years in the making, its depth is clear from the first listen, and is peppered with some of New Zealand's finest soul and jazz musical talent, including two stunning female feature vocalists from New Zealand; Ladi6 and Rachel Fraser.

The album opens with an ominous instrumental 'Mirror' setting a dark a tone for the album the start, shimmering with shades of Dilla swing snapping over metallic chords and a graceful trumpet solo that enters midway through. Wild feat. Ladi6' is a heavy downbeat future soul joint with stratospheric synths layered over driving beats that build alongside the elegant vocal weavings of New Zealand's first lady of soul, Ladi6, while 'Player' sees Isaac's unique vocals tell a tale of dangerous seduction within a synth funk-driven dancehall cum house music that feels like the Gap Band on a tropical vacation. 'Jungles' is a deep, native and ocean-like soundscape that begins with syncopated synths and beats that collide dramatically into a frantic, sweeping synth outro, followed up by'Realms' , an intricately crafted song that has sonic elements from techno-house that are other-worldly accompanied by live drums that flip after the breakdown into a swinging conclusion of the album's first half.

'Run Every Way' is an epic percussion-driven electronic blues that begins with a vocal chorus from Isaac that could just as easily be interpreted lyrically as a warning about climate change as it could an expression of the inner-self, while "Refugee" is also a heavily percussion orientated joint that fuses romantic classical strings with otherworldly synth stabs and Isaac's haunting vocals moving climactically into a tender coda conclusion. "Rain Gods" feat. Rachel Fraser is a heavenly pathway into Rachel's luxurious vocals with clever lyrics merging the soaring synths and looped bassline into a short yet memorable chorus'and 'Steps' is classic Isaac Aesili production including deep Rhodes chord changes, a knocking beat with layers of percussion, synths and horns providing a warm emotive accompaniment to Isaac's vocals. 'Last Minute' is a simple yet sophisticated jewel of space and time that concludes the vocal tracks of the album in a proper soulful style, and 'Maureen' rounds out the album as an expressive instrumental outrolude that features Isaac's trumpet.

Isaac Aesili is an Internationally acclaimed solo artist and the producer and creative force behind Funkommunity, Sorceress and Karlmarx. Isaac's original productions have been supported internationally by DJs such as Gilles Peterson (BBC Radio 6 Music), Benji B (BBC 1), and Lefto (Belgium, Worldwide FM). His trumpet playing features on many collaborations including 'Layer' by Julien Dyne (Wonderful Noise/BBE) and 'Midnight in Peckham' by Chaos in the CBD (Rhythm Section). A world-renowned musician on both trumpet and percussion, Isaac is a member of the Lord Echo band. His music fuses Soul, Funk, Jazz, Afro and Latin styles with R&B, Hip Hop and Electronic music. Isaac's much anticipated sophomore solo album "Hidden Truths" is out on Bastard Jazz (NYC) in 2020.

It would be fair to say that Leng co-founder Paul “Mudd” Murphy is a born collaborator. Since first donning the Mudd alias at the dawn of the century, Murphy has released numerous collaborative albums and singles with regular collaborators Ben Smith (as Smith & Mudd) and Kevin Pollard (Mudd & Pollard), as well as playing a key role in “super-groups” Paqua and Bison. “Susta”, which marks his first single on Leng since 2009, sees Murphy add some new names to his growing list of collaborators. It was made in cahoots with singer/songwriter David Harks, a regular Satin Jackets collaborator who also appeared on Jack Cutter’s superb “Serpent Strut” cut on Murphy’s Claremont 56 label.

“Susta” is a bubbly, evocative and ear-pleasing chunk of mid-tempo nu-disco pop featuring lead vocals from Jaanika Leino AKA JaneLy – a former X-Factor Finland contestant whose sultry and evocative voice simply soars above Murphy and Harks’ sparkling, life-affirming instrumentation. Rich in twinkling synth solos, rich Clavinet lines, chugging arpeggio lines and eyes-closed piano, “Susta” is a strong song that will squat inside your head and stay there for days.

Our advice is to welcome it in – it’s as joyous and life-affirming a track as Leng has ever released. It’s accompanied by a predictably strong remix by British electronic music veteran Andrew Meecham (Bizarre Inc, Chicken Lips etc.), who dons the now familiar Emperor Machine alias to deliver a dub for the ages. Combining his own analogue and modular electronics with snippets of Leino’s vocal and some of the warmest instrumentation from Murphy and Harks’ original mix (think Clavinet and Rhodes for starters), Meecham offers up an epic slice of electronic dub disco that bubbles away for ten mesmerizing minutes. It’s a superb interpretation of a high quality cut.

Third time is a charm they say. But if the first 2 times were already so memorable, what more can you ask for?
Nebraska comes in with a bang for his third release on Heist after ‘Soften the Wireless’ EP in 2016 and ‘Metaphor to the floor’ in 2017. It’s hard to believe it has been 3 years since his last appearance on Heist, but with ‘Y’miss me baby?’, Nebraska takes back center stage with another releasefull of disco flavored electronics. Italian disco man-of-the-moment Giovanni Damico comes along for the ride and delivers a stunning 80’s flavoredremix.
It’s not to say that Nebraska (Alistair Gibbs) has been sitting still since 2017. He’s launched his own label ‘Friends & Relations’ where he explores his cut-and-paste style even more with some seriously cool disco dubs and other sonic adventures. Furthermore, he made a guest appearance on Aaron Dae and JKriv’s Razor ‘n tape Reserve. Apart from his regular musical explorations, he has also published a book (Surprise party every week) where we get a glimpse of how Gibbs sees the world.
His view is one of humor and positivity and one of creating new meaning through rearranging context. This is certainly true for his music and this new EP on Heist. The title track ‘Y’miss me baby?’ oozes funk with a clever combination of samples from different contexts put together to create something altogether new, yet familiar. The track has a real 80’s disco vibe to it and the vocoder adds even more to the ‘Zapp & Roger’ flavor of things. It’s a laidback track that feels like it was recorded on a gloomy Sunday evening with no pressure on anything and just room for fun.
The vibe takes a complete left-hand turn with ‘Dip and Flip’, a high energy house track that rattles, loops and bleeps into a full-on disco frenzy.
The b-side kicks off with Italian disco wizard Giovanni Damico remixing the title track. He’s had a great run recently with releases on Lumberjacks in Hell and more recently on Star Creature, where he’s found a home to explore his own view on modern day boogie. His ‘jam’ remix flips the track into a freeform arrangement where guitars, disco claps, delays and retro synth licks all work together for a great taste of Italian boogie.
The EP finishes off in true Nebraska style, with yet another curveball. ‘Xia long bao’ sounds like a lost Nick Holder track from the 90’s with its loopy island style Rhodes and lazy chanting. The choice of samples along with the catchy groove makes this a signature Nebraska track and a quality closer for this single.
We are super happy to have Nebraska back on Heist and with this amazing EP, you are certainly going to create smiles on your dancefloor of choice.
Yours Sincerely,
Lars & Maarten

The first reissue of the famous and long-awaited "Medley Maxi 45" by Cortex. Originally released in 1979, this Medley is the perfect tool for DJs (Already played by MCDE at We Love Green Festival as the Final track…). On B side the “Mary & Jeff (Fender Rhodes Version 77)” was released in 2010 on a very limited 7inch (TV003).

Never republished! Remastered from original tape by Trad Vibe records.

All producers on this timeless EP known for their contribution to NuDisco/Deep House Music. 1 Life records has enlisted the services of top talents. Deep house veterans Mateo & Matos wrap drifting deep spheres, lilting electronics & warm synth rhodes chords around a chunky groove on his fine beat interpretation for a brighter & breezier deep house vibe on a remix that benefits greatly from a squeezable synth bassline & some undulating TB-303 style acid motifs, while Rune Lindbaek deliver with Frisvold a driving chunk of dub-disco/deep house fusion rich in sparkling synthesizer lines, sun-kissed chords & his own rubbery post-punk bass. Studio don Vincent Inc bring unforgettable impressions & inspiration for mind, body & soul together with his remix. 4 tracks came together to tell music stories about hypnotic deepest stuff, depression, happiness, loneliness, love, miracles & magical experiences

Container is the project of American noise veteran Ren Schofield, originally from Providence, Rhode Island, and now based in London. Container first appeared at the turn of the decade with a slew of freakish tapes for various small labels. In wake of thesereleases, Editions Mego offshoot Spectrum Spools –run by old friend John Elliott of the band Emeralds –took the punt to release his debut LP, a collection of mutated Techno tracks simply titled ‘LP’.

The record gained attention quickly in the Electronicmusic scene largely thanks to Schofield’s unique production style that separates him from forms of conventional dance music. Whilst the music of Container sits perfectly fine within the genre and is functional enough to blow apart the walls of any club, years on the US noise circuit have given Schofield’s brand of techno a rawness and direct intensity that stands out in the club and crosses over into other sub-sections of the underground.

His modest set up of Roland MC-909, a four-track porta studio and anarray of pedals allowed him to hone his scuzzy and bewildering beat music over the years, leading to three more well received, and literally titled, LP’s. Over this time period Container also released some EPs on Morphine, Liberation Technologies and Diagonal, did a variety of remixes for acts likeFour Tet, The Body, Panda Bear and Fucked Up plus maintained a healthy touring schedule that reached over every continent.

His exhilarating live show has hit pretty much every major electronic music festival andclub in Europe, as well as tours and gigs with a diverse range of acts such as Wolf Eyes, Zola Jesus, Daughters, Pharmakon and Ryley Walker.Almost a decade since his debut, Container arrives on ALTER with his first non-”LP” titled album called ‘Scramblers’. The title taken from both a Baltimore street drug and a Rhode Island Diner he used to eat at with his father.

Schofield elaborates: “The juxtaposition between these two Scramblers is a great one. I wanted to pay homage to a nice name that lends itself to both depraved and wholesome contexts and do my part to carry on the tradition.” The eight tracks have their origins in live performance and a more high-octane delivery is noticeable when compared with previous Container albums.

‘Mottle’ sits in a mysterious zone between the productions of EVOL and early Ruff Sqwad. Fierce electro cuts like ‘Trench’ and ‘Nozzle’ work alongside the nauseous slink of ‘Duster’, which in typical Container fashion morphs into a frenzy in no time.

A frenzy which may be linkedcosmically to the fact that ‘Scramblers’ was recorded, mixed and mastered in one day, reinforcing further his unorthodox and fun approach to club music.

Adam ‘Adred’ Baker is an imperative part of the US drum & bass scene, providing a home for its fans amongst the cultural hub of New York City. Alongside his work as a promoter for ‘Natural Selection NYC’, he’s also dropped music on labels such as Metalheadz, Soul:R and 31 Recordings, proving that he’s as multi-faceted as they come.

This is something which shines through on his forthcoming LP ‘KIM’ set to be released on Goldie’s Metalheadz; named after his late father whose Fender Rhodes features prominently in much of Adred’s music and is a central part of his inspiration.

The album is an introspective look at the producer’s history and one which will identify the elements which have made him both such a successful artist and drum & bass event host.

Wewantsounds is delighted to continue its Akiko Yano reissue program with the reissue of her superb double album recorded with YMO at a time when she was part of the group’s touring line up between 1979 and 1980. The album is pure Akiko Yano featuring her superb singing and piano playing, enhanced by touches of YMO’s synth-pop sound (check her cult version of YMO’s classic, “Tong-Poo”). It is the first time the album is released outside of Japan and the deluxe 2-LP set features the original artwork with gatefold sleeve and 4-page insert.
When "Gohan Ga Dekitayo" came out in 1980, Akiko Yano had been touring with Yellow Magic Orchestra for more than a year. She'd play keyboards alongside the three founding members, Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi, plus guitarist Kenji Omura and Synth wizard programmer Hideki Matsutake (as part of the 1980 North American tour, she'd also feature in the group's cult TV appearance on Soul Train for a memorable rendition of "Tighten Up") and they are all present on "Gohan Ga Dekitayo."
The double LP, whose title could be translated by "Dinner is ready," was co-produced with Ryuichi Sakamoto and recorded at two legendary studios: Tokyo's Alfa Studio "A" and Los Angeles' Sound City. It was Akiko's first shift towards a fuller synth sound following four studio albums mixing Pop and Jazz Funk, including her landmark debut from 1976, "Japanese Girl". A shift that would continue with the release of "Tadaima" in 1981, also featuring the YMO musicians.
?The fourteen tracks featured on "Gohan Ga Dekitayo" find Akiko in top form mixing her singer-songwriter's sensitivity with the electro-pop sound of YMO. It's interesting to note though that it is very much an Akiko Yano album even if the group is present on the album (interestingly they do also play analog instruments on the album). Akiko is clearly the one in charge with a string of beautiful compositions and the rendition of one of the group's classics, "Tong Poo" which she reinvents as a slower, less metronomic-paced song adding her own lyrics.
?Other highlights on the album include "Dogs Awaiting..." an hypnotic composition featuring fascinating electro arrangements or "Coloured Water" sung in English by Akiko accompanying herself on Fender Rhodes with subtle percussion by Tatsuo Hayashi and electronics by Ryuichi Sakamoto.
There are many more great moments on this superb album which announces the further experiments of "Tadaima". "Gohan Ga Dekitayo" is an album that urgently needs to be (re)discovered by her growing international fanbase and Wewantsounds is happy to reissue it worldwide for its 40th anniversary.

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

ALEX ATTIAS presents his new single featuring GEORGIA ANNE MULDROW on vocals and KID K playing soulful jazz keys . The track is simple and groovy , warm and soulful, exactly what Alex is into right now . Alex is very happy to have Georgia Anne Muldrow singing on an uptempo track and Kid K playing Rhodes , analog keys and moog bass. Theres also Cicco the percussion man laying great congas and percussions as well as Arthur Donnot young musician on sax giving the track a live jazz dimension.The B side is a dub instrumental to get the musical vibe of this track made with love . Another great release for Visions Recordings in 2019. Watch out for more goodies in the near future .

UKNOWY music is back with a new installment on its more house-leaning "Plastic Garment" vinyl series. This time the EP title is "Midnight Impulse" as every track carries the treats of nocturnal life: it's dark, it's fresh and it's open to all possibilities! Starting with Salomo we have a delivery of a definite club banger with "Transform" - devotees of the likes of Kyle Hall or Steven Julien/Funkineven will definitely get their fancy tickled here. Next comes Italian break-beat maestro Sofa Talk with a rhythmically sophisticated yet deep "ALBA", much in the vein of earlier Plastic Garment releases. Munich house duo Rhode & Brown starts the B side with "You & Me" building intricate synth arpeggios over catchy chords. St. Petersburg's very own Dices closes things off with his more dreamy and at the same time incredibly complex and beautiful "See You There" - a track for the listener or the later hours of the night.

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

Hoshina Anniversary is conquerer of the mind, creating the most beautiful sound, other than silence.
This is his first offering for the ESP Institute.

Side A’s 'Sagano' is fairly representative of the Hoshina sound — raw organic samples and instrumentation, of traditional Japanese origin, mercilessly bent and tweaked to suit the needs of his obsessively precise arrangement. Midway through the track, we’re bewildered by his demonic breakdown on the Rhodes, which daringly tags the bassline and strings into a synchronized trio of jazz-funk noodles, and he even throws in a key change before dropping us back into the main hook for the duration of the dance. It's a major flex, and indeed makes an impression.

On side B’s 'Haru Wa Akebono', Hoshina displays an alternate and equally significant side to his songwriting, merging optimistic twinkles and arpeggios with slightly detuned dry percussion for an overall uneasy vibe, not dissimilar to early video game aesthetics or circuit-bent toys. Across both sides, there lies an unhinged overtone, such that we feel one small step from spiraling deep into a demented quicksand, a freak-out where hallucinations get the better of us.

Initiating a breadth of releases planned with the ESP Institute, this single summarizes a few of Hoshina’s most compelling modes, and though there is a whole circus yet to unfold, we hold his cards close, no spoilers before the main act.

These two songs will have you drinking moon juice and dancing naked at the Mardi Gras.

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

As we head towards the end of 2019, the CoOp Presents crew unleash a heater for the cold months, and a very warm welcome to the label for Danvers, with an EP entitled 'Light Movements'.

Joe Danvers has been building a diverse catalogue of dance music over the past several years, including releases on FINA Records, Boogie Cafe and Wotnot (his debut release also featured mixes from the likes of Joe Armon-Jones & Warren Xcince). Aside from his solo efforts, Danvers makes up 50% of Kassian, who in turn have dropped releases on Phonica White & Heist Recordings, as well as a series of highly-acclaimed remixes. Their debut track 'The Premise' was nominated as "Track of the Year" at Gilles Peterson's Worldwide Awards.

These various projects have been shown support far and wide from selectors such as Bradley Zero and Detroit Swindle, whilst Danvers & Kassian have been booked for parties across Europe this past Summer. Danvers is also co-founder of Curve Records, along with Luke Campion & Mike Wilkin of Fact / Vinyl Factory.

So to the EP - 4-tracks demonstrating Danvers' flair for eclectic bruk boogie. 'Devotional' kicks off the set, featuring the soulful vocals of Natalie May atop a rhode-laden bubbler. The EP's title track 'Light Movements' follows and is a more stripped-down affair, with big kicks and synth stabs. Next comes 'The Flex', inspired by Selectors Assemble runnings - a tasty stepper with a huuuuge b-line. Finally closing out the EP on a deeper jazzy vibe we have 'Calmer' featuring the don T. Williams.

Expect more big things from Danvers and from the CoOp Presents crew in 2020. In the meantime, get this one on your speakers and watch for the movements. Standardly essential business.

12" + 7"

In 2009 Mocky made a radical decision: after having become one of the cult figures of the leftfield Berlin electronic music scene of the early 2000s, Mocky retired his sampler and travelled to Paris to embark on an all acoustic journey with the producer Renaud Letang in the vintage Studio Ferber, previously inhabited by the likes of Nina Simone and Serge Gainsbourg.

Named after a song he made up when he was 7, using imaginary words, "Saskamodie" was an instant new future/retro classic: a return to pure musical expression by a cutting edge artist who was no longer bound by the electronic music scene. "Saskamodie" was a brave step into unchartered waters, the sound of a musician exploring where his talent can take him with rare confidence and authority. At different points you could hear a vintage soundtrack suite, a debonair jazz record (minus the solos) or a golden era '60s soul ballad recording ... yet, as if all these charming stylistic sorties weren't loveable enough, cut "Saskamodie" through the middle and you'll find that sweet, inescapably infectious melody is the lifeblood trickling through its core.

Mocky is listed as playing drums, bass, rhodes, piano, guitar, percussion, bells, recorder, vocals, whistle, organ and toys as well as writing string arrangements. Taylor Savvy, Gonzales, Jamie Lidell and Feist contribute additional instrumental and backing vocal performances that make this record sound more like a live performance than a studio creation.

"Saskamodie" has definitely stood the test of time and Mocky still successfully follows the path he started with this recording - be it on his series of digital Moxtapes, his album "Key Change", his recent "recorded-in-one-day" jazz album "A Day At United", his score for the japanese Netflix anime "Carole & Tuesday" or his writing and production work for the likes of Feist or Kelela.

Originally only released as CD/Digital Download, this 10 years anniversary limited vinyl edition brings us "Saskamodie" in it's original form, re-mastered for deluxe 180g vinyl and accompanied by an exclusive bonus 7" with a new single edit of the album's hit "Birds Of A Feather", a solo piano version of "Guiding Light" by Chilly Gonzales, the recent coverversion of "Birds Of A Feather" by LA's underground funk sensation Vulfpeck and a remix featuring a collaboration with noone less than the Wu Tang's GZA.

"An exceptionally musical album – there’s no other word for it – that could fail to seduce only the hardest of hearing, or the hardest of hearts" (Pitchfork, 8.0 review)

"An amazing record…a big hit for me" (Gilles Peterson)

"If Saskamodie was a film, it would undoubtedly be The Science of Sleep by Michel Gondry. Please take that as a wholehearted endorsement" (BBC)

One of the greatest enigmas of the music scene in mid to late 1970s Harare was The New Tutenkhamen, a band which played an eclectic brand of Zimbabwean township music combining
traditional rhythms and western influences. The band included some luminaries of Zimbabwean township music. Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano’s long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher “Chex” Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen’s most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax. The New Tutenkhamen recorded I Wish You Were Mine at Teal Records, produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic Skokiaan, and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the
heavyweight producing talents of Matema and the writing chops of Josamu, The New Tutenkhamen band created an album howcasing various musical styles popular at the time. From the afro-jazz jam session aesthetics of “Tutenkhamen Theme”, “Big Brother alcom” and “Forever Together”, to the almost Van Morrison-sounding “Sunday Morning”; from the upbeat rock ballad “True Love”, to the funk-infused dance song “Togetherness”; from the bouncy jazz
exhortations to work hard in “Ane Nungo”, to the brassy, raunchy foot-stomper “Me & Dolly”. The title track “I Wish You Were Mine” is a ska-infused ballad that wouldn’t be out of place in post-war
Birmingham, while the star of the show is “Joburg Bound”, itself a fast-paced rock piece with Motown undertones and funky guitar lines. As a collective effort, I Wish You Were Mine provides a fascinating insight into a fraught time in Zimbabwe’s history, and the bands plying their trade through the turmoil, making music for young people, by young people.

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

Before an upcoming album in 2020 on Heavenly Sweetness, Mama is the first single. A track in which the balafon’s woody resonance, the meditative flute and the female choruses return to the Creole roots of David, recall the memory of his Caribbean grandfather exiled to New York but, above all, a title dedicated to his grandmother, who after the last soaring electro-disco, she comes to declaim the text on the ultimate measures. David Walters will have thought of it, conceived and realized in close collaboration with Patchworks. Then, in the wake of the single Mama released in the month of each of them took the title, isolated himself in the studio with instruments and machines to come out only with a total reinterpretation, but especially personal, of the title. Hammering bass drum and snare drum bursts, David has entrusted the direction of operations to the rhythmic, and it is one after the other that digital elements were invited to transform the original maternal softness into a boiling soundsystem. Synths their strings on the hum of the bass, the hypnotic power of the riddim remains.
Two remixes, two atmospheres. The Patchworks scene is set in a jazz-funk setting, an heritage from Roy Ayers and Lonnie Liston Smith. Powerful drum, enrobing bass, the Fender Rhodes becomes a soloist, motivated by this irrepressible groove, first become a soloist. And that the meshes leave the hands of the balafon player to pass in those of the vibraphonist.

Sometimes in soul music history it has seemed that record producers couldn't get enough of a certain backing track, churning out singles after another, chasing for a hit that never came. The latter doesn't really apply to Pratt & Moody's "Lost Lost Lost", which just recently broke 1 million Youtube plays. While stacking up fame in the lowrider soul scene, this beat ballad also caught the ear of the West Coast record collector and dj Mike Noriega, who decided to write fresh lyrics to accompany its instrumental.

"Wondering" that came as a result was brought to life by the singer and industry insider Gerald McCauley, who turned his soul inside out for the performance. In the past McCauley has worked as a musician, A&R man for example in a project involving George Benson and Al Jarreau and even produced a book and documentary on the history of the Fender Rhodes electric piano. Here he slips comfortably into the Cold Diamond & Mink groove, squeezing every drop of heartache on tape.

This version continues the story of "Lost Lost Lost" so gracefully that one can only wonder, if there are more to come. Who will be the next poor soul to sink into this deceivingly blissful bed of roses, filled with piano, drums and slide guitar?

A1: Madness blasts through the front door, armed with obscure effects and a gnarly acidic bassline. Severe Chicago percussion massacre in the middle, followed by a soothing synth finale. Cum on, you know that’s how Dj RFR does!

A2: Munich mesmerizers Rhode & Brown at their best sonic behaviour. May we call this acid trance wave?
Sure, ‘cos Boys Do Cry.

B1: Born in Romania, raised in London, now Munich’s her home. Oana Leca delivers a fusion of two of her most beloved styles- Minimal House vibes in a blue shimmering Detroit coat.

B2: No-holds-barred for Nik Wookward. The long time Munich affiliated producer drops a sneaky brain intruder. Minimal Deep House with a psychedelic twist, just what we like. So please don’t latch the club gate before…forever.

Koralle is the new moniker of Lorenzo Nada, a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums / EPs and touring Europe with a four piece band Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, rhodes and bass he creates deeply textures tracks that touch mind, body and soul. Early 2019 Koralle signed with Melting Pot Music where he released his first first project “Collecting Vol.1”. The 6-track EP was an instant success amongst beatlovers worldwide and has accumulated more than 2 million streams to date. “Collecting Vol.2” Koralle is a seamless continuation of Vol.1 only better! “Collecting Vol.2” will be available on all digital platforms. We are also releasing a limited edition LP, simply titled
“Collecting” which summarizes both EP's on one record.
„Collecting it’s an eyes closed journey throughout memories, a collection of some everyday little stories, still paying a tribute to my hip hop musical background. Every beat is like an object found at the bottom of the sea, every sample emerges from my record collection, turning into something new, like corals of the Ocean.“ as Koralle writes in the linernotes.

With the release of their first two albums and live shows supporting Snarky Puppy, Roy Ayers, Marcus Miller, Larry Mizell & the Blackbyrds, Butcher Brown, Yellowjackets and more, Resolution 88 have already established themselves as one of the UK's leading exponents of funk jazz. Their music is synonymous with the silky, buttery sound of the Fender Rhodes. They're also a bona fide band, a refreshing change in a musical world increasingly occupied by online collaborations and viral videos. They're best mates who love to hang out, play together and make their own music - that sincerity is evident in their songs and their chemistry on stage.


'Revolutions' represents a lot of firsts - the first time Resolution 88 have recorded to multi-track tape, the first time that they've included a real string and brass section, the first time they've included special guests on record and the first time they've pressed an album on vinyl. Imagine a combination of an undiscovered Herbie Hancock album from the mid' 70's, rare-groove samples from the golden era of hip hop (ATCQ, Pharcyde etc) and the new London sound of bands like Yussef Kamaal.

Every track on'Revolutions'represents an aspect of music on vinyl. On'Pitching Up'you hear the DJ pitch the record up from 33rpm to 45rpm.'Out Of Sync'simulates a clumsy attempt at beat-matching. The hypnotic, circling sax line that opens the title track'Revolutions'(echoed by the strings at the end) evokes the mesmerizing sensation of watching the record label artwork whirling as it spins on the platter.'Runout Groove'fades in and out; the drum beat mimics the distinctive, perpetual rhythm tapped out by the stylus as it reaches the runout groove. On the second side,'Sample Hunter'unexpectedly deviates from the main section into Rhodes-drenched interludes; the type of moment that producers searched high and low for back when hip hop was great.Marcus Tenney's (Butcher Brown) lyrics on 'Dig Deep'are all about the thrill of digging for records and'Matrix'is inspired by the hidden messages sometimes left in the matrix markings on record pressings. On'Tracking Force', you can hear the beat twist and morph as the stylus skates over the record. Finally,'Warped Memories'closes out the album with a wistful, melancholy melody. Sit back with a glass of Japanese whisky and a Cuban cigar (or whatever your chosen poison is), stick the album on and enjoy it from start to finish - although if you're listening to it on vinyl, you'll need to get up to turn it over to the B-side ;)

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

After S3A's "Pages" double album earlier this year we asked some of our friends to re-interpret and re-construct their favorite original track off the album and deliver these fine remixes. We aimed to have a nice variety in styles on this record and hope you enjoy these tunes as much as we do!
Starting off with the live disco funk of "Lorenz Rhode" who sets the tone for a class dance floor EP and followed by the soulful deep house vibes of French master "Art Of Tones" aka "Llorca" who delivered 3 different mixes to this release. The main mix is on the vinyl and there are two bonus mixes added to the digital release, a "Beats" and a "Dub" version. Ending this brilliant first side is London's newcomer "Dampé" with that deep and jazzy electronica approach we got to love him for on his first debut Dirt Crew Recordings release.

On the flip we pick up the pace and present you the faster dancefloor tracks of Amsterdam's "Nachtbraker" with his freaky hallucinating sounds placed atop of one of these irresistible bass lines only he can come up with and leading towards an "end with a bang" in best Detroit ghetto house style by our own Icelandic fire "Felix Leifur".

Each artist perfectly transported his own unique styles into these tracks and we hope this release with its broad approach will serve any dance floor to its best!

Slam City Jams is back with its sixth release and welcomes a new face to the label: the
mysterious producer, Westcoast Goddess, with his „Soul Out Of Time” EP.
After releases on Shanti Celeste’s Peach Discs (under his Videopath moniker) and Canada
based Heart To Heart Records, this guy caught our attention with his amazing analog take
on house music.
Written and produced between 2002 and 2018, this record contains everything house music
heads could wish for:
Sweet chords and strings, topped with heavy 909s, plus a cheeky little vocal shot on
„Satisfaction & Clarity”. Title track „Soul Out Of Time” sounds like a late night drive with the
top down. Meaning - shiny bells, swinging 80s drums, a funked up bass line and Balearic
breaks. The B-side kicks things off with “Open Heart”. A sample-based house tune, heavy on
the low end and super sweet on the tops, with Rhode pianos and catchy guitar licks. The EP
comes to an end with „In Search Of Darryl P”: A perfect track for the late hours, when those
trancey synths and euphoric strings go on and on... till the first rays of dawn!

Cologne’s resident conjurer Hodini steps up for his second solo EP on WOLF Music Recordings. Bringing elements from his hip hop background into this unique five tracker, Hodini dusts off long forgotten cuts, sampled with that MPC chopped graininess, blending lo-fi vocal sound bites with deft jazz loops, all adding a distinct, textured edge to his work.

‘Velved Groove’ and ‘Special Shoutout’ kick things off, snapping in funk fills and skipping guitar riffs behind a concoction of hazy spirals that transfix from the off. The former is an uptempo, twisted, jazz club house jam and the latter a bubbling voyage through the afterhours, bourbons flowing and faces flying from every corner.

A master of misdirection, Hodini also moonlights as one of Germany’s leading underground hip hop producers HulkHodn, proving he can flip styles and meld genres with ease. Featuring his alter ego, ‘Doggo Content’ is his nod to this - a crackling slo-mo trip through the intoxicated mind, soundtracked by stretched vocal snippets, wading bass notes and a crunching snare.

Two of the harder-hitting club tracks close out the EP, both focused around hypnotic bassline carousels and looping layers. ‘Where’s The Wine’ interjects Rhodes flickers with bongo rhythms and unsettling laughes, as ‘One4Fries’ marries off-kilter, piano stabs alongside jazzy flourishes and fizzing percussion.

Acclaimed by many as one of the greatest and rarest library LPs of all time, the album 'FEELINGS' by Jay Richford & Gary Stevan aka Stefan Torossi. With its iconic 'naked lady in the wild' cover, has been coveted for many years by collectors of all musical genres. This album showcases some outstanding compositions & arrangements that explore the exciting connections between rhythmic funk and orchestral jazz - and are now for the first time issued on 7" 45 vinyl double pack!

We open with the uplifting “Running Fast” - a driving, pulsating groove laden with Fender Rhodes and swept along by lush strings. If you're not feeling it - book an appointment to see your doctor! Next follows a B-Boy dancer filled with battle floor emotion - “Fearing Much” - this one packs a heavy bass and syncopated drum groove with dramatic, stirring strings. A must have 45 DJs fave! The opening drum break to “Feeling Tense” gives way to mellow vibes with a deep bass, silky strings and charged horns that deliver the perfect slick, down-tempo groove. Last one is another down-tempo vibe heavy on the bass and strings, “Walking in the dark”. 
All in all yet another MUST HAVE Dynamite Cuts 45!

What is the Inner Dance? A musically assisted trip through thought-movement. It is not a show, it is a party. The participation of a room full of individuals having their own personal experience. Like looking closer at the ground to see there is movement within, focus acutely and see the life within life.


Gene Tellem launches her own label Bienvenue Records, welcoming you to a world of sounds for all the extroverted introverts out there. With headquarters at La Rama in Montreal, we plan on assisting your journey through local & international sounds.


For this first EP Gene lays down the foundation for what is to come. Journey agent tracks for all looking to experience the music, an extended groove, more than just a drop & repeat. ‘Groove PM’ sets the scene, we play in the sun during the day and at night we smooth out the rigid edges of the hustle. ’N’ You’ is here to get you in touch with your natural swing, ride on the simplicity of moderate changes and witness just how much we have. ‘Tender As A Rhodes’ is an ode to that thing that changed it all, the universal jazz sound, dub it out, stretch it out, and watch the whole room come together. As the morning comes we get ‘Chipped’, dance ’til the next day comes and hit the streets with a little pep in your step. Crossing paths with your neighbours on the way home, they might not know but all who witnessed do, we who dance the night are the warriors that keep the light on in the darkness.


Thanks for joining us and please do stay tuned for more.

-La Rama

All producers on this timeless EP known for their contribution to NuDisco/Deep House Music. 1 Life records has enlisted the services of top talents. U.S deep house veteran Vincent Floyd wrap drifting deep spheres, lilting electronics & warm synth rhodes chords around a chunky groove on his fine beat interpretation for a brighter & breezier deep house vibe on a remix that benefits greatly from a squeezable synth bassline & some undulating TB-303 style acid motifs, while Rico De Almenda deliver a driving chunk of dub-disco/deep house fusion rich in sparkling synthesizer lines, sun-kissed chords & his own rubbery post-punk bass. Studio don Vincent Inc always bring unforgettable impressions & inspiration for mind, body & soul. 4 tracks came together to tell music stories about hypnotic deepest stuff, depression, happiness, loneliness, love, miracles & magical experiences. And now we're asking other's to join the sound conversation

To mark his second artist album on his own Millionhands label in July, Tee Mango teases with a fantastic second EP from it featuring remixes from Hidden Spheres (Lobster Theremin, NTS), Kiwi (Futureboogie, Optimo, Life & Death) and Hubie Davison (Regraded).

The fantastic full length finds the UK artist stretch himself and serve up a dazzling array of soul-drenched, vocal-laced songs featuring his own singing and influenced by the likes of Prince and Bon Iver, alongside awesome gyuest vox from Detroit funk legend and former Funkadelic member Amp Fiddler.

Opening up EP 2, Tee Mango serves up a fizzing and arpeggiated electronic disco track, ‘Woo Hoo’ which will undoubtedly be rocking festival tents this summer. Irishman and Leisure System man Hubie Davison then steps up to the plate with a heart-warming, tripped out and twinkling organic house mix of ‘Down Down Down’, featuring warm oaky melodies and Mango’s fragmented falsettos.

Then comes a dazzling techno-not-techno mix of ‘Woo Hoo’ from Londoner Kiwi, an associate for labels like Correspondent and Optimo Music. This superb version keeps the galloping arpeggiated feel of the original but swaps the broken beat for a straight four to dizzying effect. Following that is acclaimed Lobster Theremin, Rhythm Section and NTS regular Hidden Spheres with a hip house basement re-rub of ‘Down Down Down’ with more of Tee Mango’s fragmented falsetto over a beat Prince would be proud of.

Finally, Tee Mango himself then steps out with the excellent balearic skit ‘Don’t Worry About the Rain’ with deliciously soothing Rhodes and synth whines topped with Mango’s vocals imploring us to ignore the weather.

This is a top package that bristles with brilliant club sounds for a range of different settings and more than whets the whistle for the forthcoming album.

Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. "I feel like I'm a part of modernising jazz and connecting it with audiences today" Yazz says, "it's exciting".

Her take on jazz weaves in Arabic melodies to evocative, cinematic effect.

'La Saboteuse' is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it's composed of undulating rhythms, Middle Eastern melody and Yazz's sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of 'La Saboteuse' is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. "Giving 'her' a name has really helped me to identify those negative voices we all get," she says. "I know what it is and I know how to combat it"