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The first opus... we missed that one last year. Too good not to finaly get some.

Belgium’s sophisticated yet sometimes worldweary indie superstars return with their fifth album and follow up to 2019’s ‘Fever’.
Further pushing on from ‘Fever’’s shift into more soulful waters, ‘Sand’ presents a more cohesive body of work that flirts with a soulful indie vibe and an at times almost slow disco undercurrent, the two singles ‘Losers’ and ‘On A Roll’ perfectly capturing the mood.
Back when you could go to gigs the band were at the point where they were selling out the Scala in London and commanding decent size crowds regionally (especially Brighton, Bristol, Manchester and Glasgow)

It doesn't happen too often that you come across someone with Sam's composure and artistry at such a young age. 22 year old Sam De Nef has been in music for a while as lead singer of indie outfit 'Danny Blue and the Old Socks', but It wasn't until last year he started thinking of a solo career. Influenced by a generation of songwriters he listens to every day, Sam felt an urge to follow his own path and write genuine songs he could play all by himself and at any time, unadorned and without pretence.

He started recording demo's during the March lockdown, swiftly landed a record deal and started recording his debut with Nicolas Rombouts (Dez Mona, Ottla, Stef Kamil Carlens) and PJ Decraene (Rhinos are People too) - also his live band - in an old house in the French Vosges mountains.

The first tracks he released did not go unnoticed at national radio, press and streaming playlists alike. Sam is a prolific writer and lyricist, he recorded a 7 track debut mini album, expected in February. We are instantly struck by his stunning vocals, his versatility and maturity as a songwriter, embracing the classics but never without transcending their influence.

Sam De Nef's first solo project is a vehicle to tell his own stories and write songs that come to him in the most natural way. His debut mini album is an inspired collection of visceral folk and singer songwriter tunes, drenched in nostalgia. He's inspired by the likes of Dylan, Jack Kerouac, Leonard Cohen and Karen Dalton, but displays a unique voice and decidedly steers clear of platitudes.

"On my first trip to Serbia, visiting my girlfriends family, I discovered a whole new world in music. People played their songs around the diner table. What I saw was a family sharing food, alcohol and stories everyone could relate to. This experience opened up a new window, the wind blowing inspiration. I want to tell stories and touch people with simple songs and colorful language."

There is a directness and intimacy throughout each of the record's 23 minutes, which both sparks universal melancholy and makes Sam De Nef's debut very personal.

Listening to Magic Sam playing and singing from a twenty first
century perspective shows distinctly how he was pushing the
blues in a rockier direction and influencing many subsequent
players. During the sixties he attracted many new fans with two
fine albums on Delmark Records that have remained very
collectable. This fine album represents the first phase of his
career and captures his distinct guitar playing with its crisp and
sometimes choppy attack. He was very much a second-wave
bluesman on the Chicago scene, but obviously had so much to
offer in terms of taking the blues in new and exciting directions.

Superb epic acid tribe renewer... A modern and sophisticated sound. Defenitly full of story-telling.

One of the best record on this label.. .and in this style !

A folk/bluegrass troubadour from Vermont who delves into shape-note traditions and Appalachian ballads and makes it all beguilingly his own. His guitar lines have the fancy fingerwork of a crack banjo player and his banjo lines have the tugging suspensions of a jazzer.’ – Guardian

‘Amidon is a rare Americana artist whose … signature banjo-strewn style … and disparate mix of influences play into a sound that is at once archaically rootsy and savvily refined.’ – Wall Street Journal

Sam Amidon considers his new self-titled album the fullest realization to date of his artistic vision. It comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. ‘Pretty Polly,’ for example, was one of the first traditional tunes he learned to play, and ‘Time Has Made A Change’ is a song that his parents – singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus – sang around the house when he was young. Amidon will perform two concerts at Kings Place in London on October 3. A limited number of tickets will be available in the venue, as well as tickets to stream the event from home. Further details are available here.

Amidon and his frequent band of multi-instrumentalist Shahzad Ismaily and drummer Chris Vatalaro were joined in the studio by Belgian guitarist Bert Cools (who played on his last EP), as well as Amidon’s wife, Beth Orton, who adds vocals on three songs. Acoustic bassist Ruth Goller and saxophonist and labelmate Sam Gendel also play on the album, which was mixed by Leo Abrahams. Sam Amidon was mostly recorded live in the studio. Amidon arranged the songs, which are traditional tunes, with the exception of Taj Mahal’s ‘Light Rain Blues’, Harkins Frye’s ‘Time Has Made A Change’, and ‘Hallelujah’, which is an 1835 William Walker shape-note tune using earlier words by Charles Wesley, found in the Sacred Harp collection of early American folk-hymns.

Sam Amidon is Amidon’s fifth recording on Nonesuch and follows the 2019 EP Fatal Flower Garden (A Tribute to Harry Smith). Additional recordings include his 2017 album The Following Mountain and Kronos Quartet’s Folk Songs the same year, on which he was a featured singer along with Rhiannon Giddens, Natalie Merchant, and Olivia Chaney; Lily-O in 2014; and his label debut, Bright Sunny South, in 2013.

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

Sam Gendel’s Nonesuch Records debut, Satin Doll, was recorded in Gendel’s native California, and is a futuristic homage to historical jazz. The album features three musicians — Gendel on saxophone, Gabe Noel on electric bass, and Philippe Melanson on electronic percussion — engaging in simultaneous synchronized sonic construction/deconstruction of jazz standards, including Miles Davis’ ‘Freddie Freeloader’, Charles Mingus’ ‘Goodbye Pork Pie Hat’, and Duke Ellington’s ‘Satin Doll’.

Sam Gendel is a musician and producer living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes significant collaborations with a wide range of artists including Ry Cooder, Blake Mills, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world. Gendel’s previous discography includes the critically praised Music for Saxofone & Bass Guitar with bassist Sam Wilkes and 4444.

The founder of Modern Obscure Music (MOM) presents this release which culminates a creative process that has led him to work during years with labels as respect- ed as Hivern Discs of John Talabot to Mathematics Recordings of Hieroglyphic Being.
Pedro Vian surprises us with a an album that is impossible to categorize into a single musical style. This LP guides its audience through musical scenes typically attributed to the artist, with atmopheric tracks like Pandora or Paradiso (available on the digital version). But it also travels through abstract, sonic labyrinths in songs like Maia or Nine is Nine, accentuates the rhythm with techno tracks such as Le Fou, Invisible Objects or Indian Strings, and even submerges us into the depths of pop with 801 Nite, where Pedro Vian collaborates with the young and talented singer of Mourn (Captured Tracks/USA) Carla Pe´rez Vas. Another cut that resonates is the influence of the Cocteau Twins.
Beautiful Things You Left Us For Memories is the most mature work signed by Pedro Vian, where he clearly manifests all of his influences and distances himself from the introspection prominent in his last EP’s, where he collaborated with artists like Inga Copeland from the Hype Williams Duet, or Pye Corner Audio. This is a bold move forward on an international trajectory that has received robust recognition from specialized, international critics.The new project will be published through a digital version with twelve originals; and through a reduced vinyl version where photographers Adria Can~ameras, artist Irene Royo and graphic designer Marc Monguilod have collaborated, and audio engineer Josh Bonati has mastered the sound. This is a kaleido- scopic work, adamantly supported by artists like Gold Panda, Laurel Halo, Barnt, bRUNA, and the north-american producer Chris Taylor (Grizzly Bear) among others

With this collection of deeply personal tracks, I wanted to reconnect to my inner emotions and to my love of melody, showing my most introspective and passionate side. Locking myself away in my studio, surrounded by vintage analog machines and acoustic instruments, my desire was to create a late night journey of contemplative experiences in music.

Drifting away from the harder, dancefloor oriented sound, this concept album reveals a thoughtful observation on the state of our world today and on these times of turmoil and uncertainty, ending with a positive message of hope and peacefulness".

Mavericks of the musical landscape, Brooklyn’s finest genre-defying duo Dave + Sam release their anticipated debut album ‘No Shade’ on Classic Music Company this spring, a thirteen-track narration of the 21st century experience, told through the eyes of vocalist Dave Giles II and production maestro Sam O.B. With the aim to package love, empowerment and socio-political commentary into a collection of tracks that never compromise on groove or soul, this enchanting album never loses sight of its message as it journeys from deep Chicago house and otherworldly melodies to funk-laden jams and adventurous studio experimentation.

Hinged tightly by the soulful nuances of Moodymann, Mos Def and Gil Scott Heron, Dave’s captivating spoken word delivery is purposeful and considered, as Sam weaves rhythms and grooves so deep you can get lost in them – the two musical narratives working in perfect harmony. Impassioned cuts like ‘Facts’, ‘Worth It’ and ‘Sauce’ leverage hip-hop’s tradition of battle rap against white supremacist rhetoric, a message that remains ever more relevant in today’s political climate. Title track ‘No Shade’, ‘Day One (Oh Baby)’ and ‘Can’t Get Enough’ allow stories of love and loss to unfold to the listener, while the stripped-back grooves of ‘Round The Way’ and ‘You Da Shit Girl’ add another dimension to the album. Featuring a number of collaborators such as Chicago legend Mike Dunn, powerhouse vocalist Ramona Renea and fellow Brooklyn natives Cor.Ece and LATASHÁ, ‘No Shade’ is an evocative, powerful and joyful experience when played in its entirety.

Recorded in Brooklyn’s Bedford Stuyvesant, a neighbourhood bearing the scars of over-policing and encroaching gentrification, the vibrancy of the community and its unyielding history of creative expression shines through on the album’s entirety. As products of such environments, Dave + Sam’s music is resilient, revolutionary and organic in equal parts. An homage to their mutual reverence for early Chicago house and the golden era of underground parties in New York, ‘No Shade’ is a riveting body of work ready for you to lose yourself in.

Danny Krivit's fine re-edit of Gary's Gang classic "Let's Lovedance Tonight" first surfaced on Nervous Records back in 2007, and has been something of an in-demand item with disco DJs ever since. This, then, is a more than welcome reissue. The genius of Krivit's scalpel job is that it merely emphasizes the sections of the original that dancefloors want to hear; specifically, the acoustic guitar and organ-heavy groove, killer drum breaks and winding saxophone lines. It's simple but devilishly effective.

"Let’s Do It" by Convertion is another era defining soul-infused disco classic from the Sam Records catalogue. Danny Krivit similarly works his magic bringing out those elements that make the track – originally produced by Greg Carmichael and featuring the legendary Leroy Burgess on vocals – such a must-have item for all collectors.

Sam Goku's music showcases bonds of ambient, acic, house, techno and melodies. It's perfect for both club environments and home listening. The modern production style in combination with old-school elements/non-repetitive vocal sample work give Goku's music a unique, trippy twist that is topped off with Chinese percussive instrumentation.

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

New Critical

Sublunar Records, the label run by Sciahri and Dagdrom, starts 2019 with his tenth re- lease.

'Corpora' is a new trilogy project whose elements will see the light throughout the year.

Part I involves Nuel, known for his collaboration with Donato Dozzy on the Aquaplano project and author of for two genre defining album on Further Records.
His contribution 'Intarsia' is a polyrhythmic mixture of ascending synth spirals where every element is tuned for maximum clarity and impact.
Then Sam KDC, an integral part of ASC's cutting edge Auxiliary label and regular on Geoff Presha's Samurai and Samurai Horo, comes in with 'Skirmish', a ritualistic experience where a memorable melodic figure is surrounded by delicate drum patterns. On the B side co-founder Sciahri releases all the tension with 'Linfa', pushing his signature sound into heavy atmospheric disturbances where distorted grooves bounce among skittering bits of percussion.

Sometimes you produce a track with nothing but a dancefloor and a good sound system in mind. "Twelve Inch Jams" is offering you just that - strictly two A side tunes for the floor cut at 45 revolutions per minute. Jazz & Milk pays tribute to this classy release format with their new 12" vinyl series. Each record comes in a hand silk-screened printed and stamped sleeve!

The dreamteam of the highly successful first installment (JAMS001) teamed up again to share their love for raw and sample-based house music tunes produced on the MPC. Label artist Sam Irl and the man behind Jazz & Milk, Dusty never fail when it comes to layering colorful sample fragments and enriching them with raw beats and deep synthesizer chords.

"Broken Spell" starts off with a super moody atmosphere that slowly opens up until it reaches its energetic peak with bright synth stabs and a smooth bassline before colorful arpeggios are drifting the track into other spheres. "Love Prelude" has a rather dreamy vibe but its deep chord progressions and rough bass drums and claps create a truly unique contrast and a hypnotic atmosphere on top of it, while a later incoming bouncy bassline and dubby sample parts eventually pull you in cosmic dimensions!

Sam McQueen's 2004 EP Sephoria is next up to get the Delsin remaster, recut and reissue treatment. The Chicago native has released music as Indio with the likes of John Beltran and also appeared on the Indigo Area label. Across six cuts here -two of which have new titles- the little known producer mixes up. There is serene ambient landscaping on the 'Inception' and the beatless 'Graduated Frequencies', which resonates with exquisitely melancholic synths, then 'Simple Pleasure' is a celestial world of wiry synths and warm solar winds and 14 days has pillow drum programming and soft focus chords that sooth the soul. 'Yemia' is another symphony of chattery drum hits, meaningful chords and real astral techno beauty and 'Outer Drive' closes down the epic space voyage with delicate melodies and melancholic synths that encourage you to lay back and gaze into a starry night sky.

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

With its lush live string and horn section, Can't Stop Loving You when originally released in 1990 was an immediate favorite in the UK, and represented famed House Producer Marshall Jefferson's movement toward utilizing live instrumentation in his productions. The track was released right around the time the Kiss FM London launched as a legal radio station, and Richard was support talent at the radio station launch party in Hyde Park London that was headlined by fellow Chicagoans Ten City.

The track also represented one of the last releases on the relaunched Sam Records imprint, before Michael Weiss ceased releasing new titles on Sam and started Nervous Records.

Krystal Klear has shown a unique ability to recognize sonic elements trends from past eras, and re-shape them to work for today's club crowds. With his two versions, he has done a masterful job remixing this early 90's dance classic.

Zodiak Commune Records proudly presents the fourth release of the White Cyclus serie. We are also proud to spin off this release on our first sublabel called Zodiak Commune Records KORE. This sublabel contains the Acid(core) and Tekno related tracks.

We introduce you to the common player in the scene and founder of Dosis Decibel Records finest Sam. C. He is known for his typical sound of hybrid acid and breakbeats.

Other heavyweights are the members of BangBass and the talented Ling Ling. They know best how to take you on a true KORE-trip!

Sam. C - Ecto
Deep and atmospherical! From the founder of Disis Decibel Records.

Sam. C - Tekno Fear
Acidbreak! From the founder of Disis Decibel Records.

BangBass - Spaghetti Cowboy
You can hear right from the start you are dealing with Acid from BangBass!

BangBass vs Ling Ling - Bang Ling
Energy is building op to the maximum level Acid from the combined forces Italy and Austria.

The new Dosis... With one side of pure mental Nederland thinlaced sound acid.
And the flip... ahh... the Flip ! Brilliant psychedelic Acidcore Drum &bass masterpiece ! A rare style !

BIG UP !

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.

For it's third release, CYRK brings Detroit legend Suburban Knight to the label!
4 electro oriented tunes James Pennington did with Sierra Sam and Gerome Sportelli back in his Belgium days.

S3A Records is delighted to welcome Sam Irl in the family. Samples, classy Rhodes solos for this great S3A REC Artist EP: Similarity on each side: One banger track, one hip hop interlude and one personal (or deep) track. Have a nice trip in the creativity of this mucial note blooded artist ! He is very close from the forward thinking electronic music producers from Vienna like Dorian Concept, The Clonious, Roman Rauch. He manages with a lot of class, minimalism and harmony to the samples he uses. As we love Jazz&Milk records, it was natural to propose to him to work with us on his first S3A REC Artist EP. Let us introducing Sam Irl!! We are so happy to present you this beautiful EP. One banger track, One hiphop interlude and One personal (or deep) track on each side. Have a nice trip!

Anilza Pinho de Carvalho, better known by her stage name Anilza Leoni was a Brazilian actress, singer, former ballerina and painter.Balumba is uptempo samba jazz at it's finest. Originally appeared on a very obscure 7' on Copacobana in 1967 entitled 'Enfarte Musical / Festa Do Balamba', and was included by Nicola Conte on his Viagem Vol. 4 compilation.Sambalanço Trio were formed by Cesar Camargo Mariano, Humberto Clayber and Airto Moreira in 1960's Sao Paulo. The group released some of the most important records of the period and in thw genre of samba-jazz.When the group split in 1965 Airto formed Quarteto Novo with Hermeto Pascoal, and Cesar Mariano went on form Som Tres.Sam Blues is a Mr Bongo HQ favourite - uptempo bossa jazz fusion, taken from their self-titled LP originally released on Audio Fidelity (Brazil) in 1964.

Serioulsy violent opening on this EP with a massive deep hardcore shaker 175 BPM. Then comes the Nuklear Waste Society and it 170 BPM sustained hard kick and deep acid spirals... A side brings a loud dancefloor middlenight sound ! B sides open on a Acid breakcore tune, at the Crossbreed frontier without passing it for real... too hard for them ! Too ritch in sound ! Finishing with Mental Breed, a superb acid bath of beats and never surrender 4/4 dancefloor effect.... Twisting music !

'Twistin' the Night Away' was one of Cooke's more successful LP's, only his second ever to chart, and from here on, all of his albums would sell in serious numbers. 'Twistin' the Night Away' remains one of Cooke's most accessible records, despite the fact that it was a "twist" album. Around them, the singer is at his most soulful, exciting, and passionate, on the bluesy "Somebody Have Mercy"; the romantic lament "Somebody's Gonna Miss Me"; the achingly beautiful, yearning "A Whole Lot of Woman"; and the soaring "Soothe Me" (with Lou Rawls). One of the great dance albums of its period, but a brilliant soul album as well, which is why it holds up 50 years later.
This is the remastered version of a record that's been out of print for a (too) long time!

Skream is set to release a brand new single 'Anticipate' on November 14 on Tempa. The ever-prolific producer has spent the summer touring festivals around the world including Glastonbury, Global Gathering, Electric Daisy Carnival, Glastonbury and Coachella.

Coming out with one of the most anticipated and long-awaited albums so far on Brainfeeder is Samiyam aka Sam Baker. 'Sam Baker's Album' is 40 minutes of pure listening pleasure, a series of woozy, off-centre hip hop instrumentals drawing heavily on Baker's love of electronic funk but never in hock to it. Intensely detailed and carrying considerable emotional weight, this is not 'Rap Beats Volume 2' but an album of fully-realised pieces of music which stand on their own without the need for an MC's intervention.
Ann Arbor native, Samiyam (born Sam Baker) moved to Los Angeles in 2006. In his short time out West, he has become one of the city's most progressive and recognized producers, a man who has spearheaded the revival of interest in instrumental hip-hop music over the last few years. Baker's 'Rap Beats Vol.1' collection was the very first release on Brainfeeder. He has also collaborated with old friend Flying Lotus as Flyamsam as well as having releases on Hyperdub and Poo-Bah records.Samiyam describes the work contained in his "Debut album" simply as, 'my favourite stuff' - and what could be better than that

warehouse find

Mit gerade mal 17 Jahren releaste Joey Bada$$ sein erstes Mixtape "1999" welches den Sound der goldenen Hiphop-Ära der 90er Jahre adaptierte, so authentisch und selbstverständlich als sei er mit dabei gewesen.
Die Kritiker überschlugen sich in ihren begeisterten Rezensionen und es folgten Features mit Asap Rocky, Kendrick Lamar, Mac Miller & Action Bronson. Der junge Brooklynite ist schon längst mehr als nur ein Geheimtipp. Die ersten audiovisuellen Kostproben gab es in den vergangenen Monaten in Form von "Big Dusty" und "Christ Conscious". Am 20. Januar erscheint nun sein Debütalbum, das den Titel "B4.DA.A$$" trägt.

Vier Tracks aus dem erfolgreichen Album "RR7349" (2016) der experimentellen Synthie-Band S U R V I V E aus Austin, Texas, die für den Soundtrack der Netflix-Erfolgsserie "Stranger Things" verantwortlich ist. Abgemischt und neu interpretiert von Künstlern wie Lena Willikens, Not Waving, Sam Haar (Blondes) und Justin K Broadrick aka JK Flesh (Godflesh, Jesu). Diese vier Remixe zeigen gekonnt die kompositorischen Fähigkeiten und die musikalische Vielfalt, die in jedem Track zu finden ist, und fassen die große Klangpalette von S U R V I V E zusammen. Für alle Fans von Stranger Things, John Carpenter, Trent Reznor, Tangerine Dream, Boards Of Canada, The Haxan Cloak, Zombi, Visible Cloaks, Floating Points!

New Sampler#25 on Robsoul Limited with Joss Moog, PS Project & more Jackin !