antwood (a.k.a. canada’s tristan douglas) returns to planet mu with his second album “sponsored content”. the album is more reflective than his debut, last year’s “virtuous.scr”. the relentless mood of the first album has given way to a more melodic, stripped out sound. it still shakes with speed and energy, but with more space, more moments of delicate sadness and strange cyborg pop. what comes to the fore in “sponsored content” is tristan’s gift for melody, coupled with the uncanny feeling that somehow his strange music is an entire ecosystem of it’s own.

the sweet and soulful harmonies of the whatnauts spanned a 15-year career in which they recorded three albums and numerous singles, ranging from timeless ballads to temptations-esque politically-charged funk to dancefloor boogie. the music of the baltimorebased group, which featured the angelic falsetto lead of billy herndon, gained relevance for a younger generation via samples taken by the likes of de la soul, a tribe called quest and kanye west. this 2-lp set is a career compendium of their best slow jams, funk grooves and 12-inch club tracks, including multiple unreleased and rare sides.

there is a long-standing love affair between dj harvey and pikes, ibiza. as well as coming back for his third consecutive ‘mercury rising’ residency, the legendary ‘djs’ dj has been appointed ‘cultural attaché’ for pikes, meaning his magic touch and feel-good presence will create even more special moments at pikes this summer, including the launch of new label, pikes records.
in 2015 dj harvey made his hugely anticipated return to ibiza and made pikes his home for his mercury rising debut, a concept inspired by the beauty of the real ibiza, the incredible history of pikes and a genuine love for music. the love, the dancing, the music and the balearic spirit perfectly and poetically encapsulated by dj harvey has seen mercury rising widely recognised as the most special night to embrace the island in over a decade.
the next step in the harvey and pikes story sees him launch pikes records – the first record label founded by pikes owners and ibiza rocks co-founders andy mckay and dawn hindle. on the label, harvey explains: i see so many avenues to work together to release music, everything from live recordings from ibiza rocks and pikes, mix tapes, original productions, showcasing new artists, theres all sorts of avenues to open up. with the finer details still under wraps, its safe to say fans can look forward to the first release being harveys very own mercury rising compilation. but what can we expect from the third instalment of mercury rising? putting it quite simply, just a serious good time really says harvey.

during the mid-80s and early 90s movin’ records defined the new jersey sound. a skate-shop-turned-record-store run by the so-called “fairy godmother of house” abigail adams, movin’s first output was ‘i’ve got the music’ by boyd jarvis in 1987, followed by music from game changers blaze, kerri chandler, tony humphries and smack, straight up “jersey jams” that producers are still attempting to replicate to this day. still the movin’ records catalogue throws up gems that sound super fresh along with plenty of lightbulb moments of musical discovery.
for the most part movin’ records focused on soulful vocal tracks but they peppered a few deeper tracks into the catalogue too. this is one of those releases and one of the rarer titles to find from the label. produced by steve kelly and steve ‘lucky’ benson as 3 a.m., this was the only single under that group name, although they were involved in other productions from new jersey. deep chords, a heavy kick and a low-end bass form the backing for the repeated vocal line “i love this place”. the ‘place of worship’ mix brings an uplifting piano line to the forefront, whilst an organ line jams out through the track with a jazzy walking bassline holding the groove together.

repress , swedish disco aficionado drop out orchestra has been plying his trade in the world of slick edits and on-point party fodder for the best part of ten years now, and now he comes to riot gear with a sure fire club classic to share. there s no prizes for guessing the source material on -holding on-, but in this context the evergreen crossover jam gets a modern steroid injection, having never sounded more contemporary than here. yam who? sidles in for a remix that does a subtle job, simmering down some of the familiar vocals and making a slinkier cut that still hits hard. -knucklehead- brings a little more jacking drum machine action to the table, but still disco is the main order of the day, while -where is my man- takes the prize with its on point jazz funk licks and stomping beat.

tenderness - a short-lived disco project helmed by james purdie and skip mahoney only released one 45 and one 12” single during their brief existence. known for their work with chuck brown & the soul searchers & frank hooker & positive people and many more, this duo were undoubtedly a highly talented producer, songwriter and keyboardist combination. originally released on rca in 1978 keep on trying was an underground club hit. the record still packs an immense punch today, it’s a mixture of tough streetwise drums and percussion and swooping dramatic strings and brass will surely hit the spot for disco aficionados. the kind of record you can imagine causing all out pandemonium at the garage while the scents of amyl and sweat fill your nostrils. the kind of record that would make everyone on the raised stages and podiums at the powerhouse whoop and holler in collective joy as frankie stylishly segues it into a punishing percussion break-down. yep. it’s that kind of disco record, so rare and so coveted that even the infamous dj harvey put it over his knee and gave it a good editing way back when. there’s been a shedload of poor imitations knocking around, dodgy euro bootlegs etc, but this 2017 repress is from the master tapes (yes, we can prove it) and is fully, 100% legit in every way. keep on trying - now available again, released in conjunction with rca. back on the streets. same as it ever was! essential disco heat here, buy on sight!

sivuca s legendary brazilian cover of the bill withers classic ‘ain’t no sunshine’ was a big hit on the rare groove scene and still sounds amazing today.
we’ve also included his amazing cover of edu lobo’s ‘ponteio’ on the flip – both where originally released on sivuca’s self titled album from 1973 on vanguard.

spearhead records label boss steve bcee returns with his 4th studio album, and itÆs safe to say that itÆs his best one yet. not just a solo affair, bcee has also drafted in some of the finest vocal and production talent around. with features from two time best d&b vocalist winner riya and d&b legend logistics being just the start. northpoint is bcee at his most diverse. from the early 90s hardocre influenced keep moving on to the jungle roots of hollow eyes this is an album that really showcases how broad the d&b spectrum can be while still keeping to the spearhead ethos of being uplifting musical d&b packed full of heart & soul. bcee said i wanted to make an album packed full of d&b that would work in a club just as well as it would in the car. no fillers, no showcasing how i can produce house or hip-hop or whatever, just pure no nonsense drum & bass. with bceeÆs spearhead presents brand regularly selling out shows at clubs like the legendary egg in kings cross & shoreditchs village underground, plus his growing dj & production schedule and the vanguard project his alias as a duo with fellow d&b produced villem, itÆs safe to say that even though bcee has been in the game for 16 years, heÆs only just getting started. support from friction, mistajam, metrik, technimatic, s.p.y, nu:tone, logistics, london elektricity and a whole load more

a software engineer at ableton by day, sieren’s love for uk influenced bass music and field recording and experimental soundscaping resulted in his apollo debut ‘static polymorphism’ a masterly ep of spaced out street-rave soul.
now returning with the five track ascension ep, frick has tightened and toughened up his sound somewhat (see the caustic bass glower of ‘slinger’), augmenting his starry eyed wonder with a firmer percussive underpinning and more driving tempos. however still present are his preternatural grasp of emotion and atmosphere that marked him out as one to watch - perfectly underscored by the heartbreaking beauty of the title track.
fellow apollo cohort synkro aka joe mcbride was instrumental in the curation of sieren’s debut static polymorphism ep on apollo, hand picking the tracks, as well as road testing them in his dj sets. this time mcbride goes one further, collaborating with frick on the track ‘lost you’ to memorable effect - the beautiful pads and ghostly piano are a perfect synergy of their complimentary skill sets.
this is richly textured and intricately programmed post-bass music that is sure to satisfy fans of burial, dbridge, akkord with its soulful sincerity and warmth.

the fifth instalment of the hoxton records story turns to alan castro, who has already had a busy year appearing on the likes of for club, stamp and soundterasse. the vibe is stripped down and unhinged on this record, with lead track el avion de la mentira unfurling in a strange tapestry of samples, found sounds and off kilter synth rubs strapped to a crafty set of drums. modebaku delivers a more streamlined version of the track that keeps things freaky, but much more linear than the wayward original. sequela on the flip is no slouch in the adventurous department either, with swathes of modulating tones and wild sonic matter flinging around a funky shuffle, which ted amber then dutifully bolsters with a rubbery b-line on his more functional but still daring version

matt thibideau aka altitude releases his latest original ep on lisbon s helena records, cementing his return to the international scene. anyone who has seen his all-analog live set will be on solid ground here among four extended deep-space soundscapes, which continue the legacy of his legendary blue recordings output. transforming is the slow, cavernous floorfiller with a growling bass of truly physical intensity, while fractional s delayed chords and soft, skipping hi hats form the housiest moment of the record. touch sensor and tantalum on the flip nod to the legacy of mark & moritz (still strong to this day): the former could be a long-lost main street dub, while the latter would not be out of place as a new entry in the m-series.

solar phenomena is a brand new label on an exciting astral crusade. the take-off pilot for our virgin mission is none other than decorated polish producer echoplex. one of the country’s first breakthrough international techno artists, his body of work dates back almost 20 years while often taking us 20.000 light years forward. this is no exception.

in 1973, emi records nigeria released the 45 rpm disc fuel for love b/w soundway, credited to a mysterious band called wrinkar experience. the record was a finely-crafted gem of pop-rock and funky soul as had never before been heard coming out of the countryÆs nascent rock scene, and it ended up being the biggest selling nigerian single up until that point. the success of wrinkar experience effectively demonstrated that was a market for homegrown pop and rock, and sent record labels scrambling to sign similar bands, kicking off the nigerian rock revolution that is still being celebrated and discovered by new generations today. but while wrinkar experience launched the movement, the group itself would be short-lived: after another hit single in 1973, the bands frontman danie ian split for a solo career. the remaining principal players in the group cameroonian musicians ginger forcha and edjoo jacques racine tried to keep the wrinkar name going before giving it up and rebranding themselves as rock town express. rock town expresss debut lp funky makossa was recorded in 1974 for arc records, the cutting-edge studio and label established in lagos by english drum legend ginger baker. the album showcased in long format the qualities that had only been hinted at on the wrinkar experience singles: bright, confident pop melodies, articulate lyrics, and darkly potent funk-rock. comb & razor sound is proud to present a new, fully-authorized reissue of funky makossa, featuring the seven tracks from the original release, plus i am a natural man and i dont want to know, from wrinkar experiences seldom-heard third and final single.

on this record ben sun presents an old style lp format - 40 minutes of moods and grooves interwoven with an intimate story, of individuals struggling to live freely in a time of oppression. after a sultry jazz opener where the characters are introduced, the lp kicks off with a sweet and slow soul track in work again, underpinned by a rotating acid bass. third comes salty tears, the underground disco floor-filler (original limited 12 version) finding a second home on vinyl. your camera and monday usher in some moody rhythms to complete the first side. sin casa opens the flip with some minor-blues improvisation that gives way to a spacious deep house jam, where the protagonists emerge again. still missing shows deeper shades of a eurobeat style - an emotionally compelling club tune that sounds somewhere on the italo side of 1980s manchester. the story comes to a conclusion with cowardice, and the casual jazz-house sounds of mamans lover. killer album!!

marc almond veröffentlicht mit »shadows and reflections« sein neues album bei bmg. es enthält coverversionen bekannter pop- und liebeslieder der 1960er jahre in neuem, orchestralem gewand sowie zwei neue stücke.
die vinyl-lp erscheint im klappcover, downloadcode inklusive.

aleksi perala s second album for the basement series. simulation goes even further down the basement hole than before. trippy, deep techno but still firmly rooted in the colundi sequences.

deluxe version on black vinyl, featuring 3 additional songs. housed in a gatefold sleeve.

almost a year has passed since the ghost of serena butler made its appearance on the realms of eerie - techno oddball marco shuttle’s label. now s/he and other beings gave birth to a new continuum, bene tleilax, where serena’s second ep, “from the cloud to our bodies”, has been conceived.
dub visions and found sound sculptures float over a maelstrom of skeletal techno remains, together with delicate melodies and vocal swarms from a realm where nothing is so sacred that it cannot be reengineered and transformed. this is a release which seizes alienation as impetus to generate new worlds while remaining still counter-trend to certain dark souls in modern electronic music. another biomechanical effort which sounds like the perfect nexus of fluid hopes and unparalleled roles.

hyenah, has, over the last few years helped forge strong ties between the deep house mecca of johannesburg and the cutting edge electronic scene in europe. with a handful of influential and pivotal releases and remixes on a few key labels (objektivity, drumpoet, poker flat, toytonics) hyenah has established himself as a major talent to follow. with his residency and label night rise at berlin institution watergate going from strength to strength, a busy touring schedule taking in ibiza, angola, asia and the u.s, we’re very pleased hyenah still found time to get into the studio so we can present you with the next instalment, the usuthu ep. lead track usuthu featuring the vocals of b’utiza opens the release in fine style with crisp, percussive beats laying the foundation for the precision synths and trademark hyenah afro vibes. those who loved the wish, tale of the dirt and the idea will love this worthy follow up! next up is a second original entitled phases featuring the hypnotic tones of nonku, a much deeper affair but with no less energy and atmosphere. just a more heads down groove for the warm ups and wind downs, nonku’s wonderful vocal elements adding the perfect soulful touch. flipping over we have a wonderful remix from the inimitable mr raoul k. the ivory coast native now residing in berlin has continually wowed us here at freerange with his boabab and mule musiq releases. with his collaborative release alongside manoo just about to drop on innervisions (including a killer dixon edit!), we’re excited to bring you an epic mr raoul k remix of title track usuthu. setting the mood with lush strings and a beautifully paced, beatless intro, raoul k slowly introduces the beats and keyboard parts, layering up the elements and building the energy in the process, resulting in a very special, dynamic version that will connect on a deep level with all who experience it on the dance floor.

figure jams is back with a another fresh and exciting pairing of artists. this time the record is a collection of pure analogue goodness, sparkling ripe with synthesizer magic. the a-side comes courtesy of duo-of-the-moment twr72, who happen to distill perfection through simplicity in their stripped-back productions. while‚polished is a pulsating bit of beatless yet captivating clean-cut loops, their other contribution shows their talent at crafting something lean, dry and punchy, which is still undeniably driving and hypnotic. picking up on the synth-heavy theme of this release is st. petersburgs finest aleksey niktin aka nocow. inspired by the endless baltic winters, the producer packs his tracks with emtions that feel cold but not icy, engulfing the listener in winching waves of melancholic electronica.

having previously impressed for burek and five fold separately, berlin based italian duo autre and two thou teamed up for a split record on croatian fields & forests imprint. the record showcases a nice combination of eclectic rhythms, funky basses and spacey solos but despite its club signature and retro-futuristic vibe, solar society is still more of a cosmic porch burner rather than a dancefloor banger.

helder russo is the youngest of eleven, raised in lisbon in a family from the island of santiago, cabo verde. he s a prolific music producer with a couple of heavy releases on groovement recordings and as half of gatupreto on tink!. russo s music is thought out and solid, his reference list is long and diverse, citing rhythm & sound in the same context as miles davis, sade, the late great mj, boo williams, carl craig or jay dilla. the result is a soundtrack composed with care and attention, detailed and rich though still powerful and present.

following excellent releases from skatebard, les crocodiles and lunar concept amongst many others, pleasure unit turn to cut the rug crew member mike misiu for their latest instalment of cool-headed modern disco. do what you need sports a metro area demeanour, with a classic vocal hook sprinkled in at opportune moments for maximum impact. the dub mix is no less satisfying, even with the famous sample rubbed out, but in fact the real pleasant surprise of this release is b2 jam love talk. with its funky midtempo 90s breakbeat and heavy-hitting piano, it s an addictive party starter that harks back to the acid jazz days while still fitting right into the here and now.

repress with basic art! dreamy synth songs for island trips and dark club nights - nous klaer presents their first various artists compilation. 12 tracks spread over 3 vinyls, with all label regulars as well as new additions to the imprint.

after a short hiatus to axe on wax and his return to tieffrequent records monosoul is coming back to s4aw, too... monosoul s signature sound is still there and yet has changed a bit. more bouncing basslines, more deepness and more synth textures... on remix credits we ve got atlanta s very own byron the aquarius. 2016 was an exceptionally good year for him in the biz with releases on wild oats, sound signature, etc. in 2017 he will totally go big with his unique, deep - no frills jazzy impro style. so we re more than happy with his own chord jams making up a top notch remix. what s left to be said well like michael brody put it: nothing is more important than friendship. not money, not fame, not death. crew love is true love!

“good as i been to you” from 1992 is an album with modest ambitions. recorded at his malibu home in his garage studio, it is filled with traditional folk songs, bluegrass standards & other covers. there isn’t an original composition in sight, still its an intimate portrait of a legendary musician.
original vinyls arent easy to come by, so it was a no-brainer to re-issue this classic album on 180 grams audiophile vinyl!

monumental house anthem alert! another classic jammer from 1992 lifted straight from the strictly vaults. this one s huge. phuture aka acid house pioneers spanky and dj pierre (with a little help from roy davis jr) turn in a driving, acidic monster in true wild pitch style. probably the only record that begins with a sinister voice saying this is cocaine speaking before diving head-long into one of the best anti-drug house records ever. absolutely brilliant. bubbling 303 basslines and cavernous handclaps combine with a funked out, dubbed out synth line that just doesn t stop. phuture will survive, and they weren t lying when they said that as this record (among too many others they had a hand in) still rock today. yep, still fresh. tried and tested, often imitated, never bettered. phuture are the originals. open up your eyes (and ears). this one s a tasty 2017 reissue and remaster, featuring all 4 mixes as per the original release way back when. essential stuff here. you simply need this one.

wow. now we re talking, all time classic material right here from the strictly archives. the legendary man of many hats armand van helden dropped this almighty, hypnotic slab of deepness under his mole people guise in the mists of 1995. a total deep house classic indeed. dreamy, driving, dubby, hypnotic, narcotic - it has it all. super long tracks, for the dj s to work and for the dancers to get fully lost in. break night is colossal, this one will literally transport the dance-floor to another dimension, guaranteed. sounding as fresh and as relevant as ever. timeless. ocean on the flip steps up the toughness factor with some super hard, swingin nyc drumz, but it still has that otherworldly edge that the a-side drenched us in previously. a near perfect record here, made available again, undoubtedly this will win a new legion of fans it s that good! this one s a tasty 2017 reissue and remaster, featuring both cuts, unedited, as per the original release way back when. essential stuff here. do not sleep.

dark entries is proud to present the deluxe 2xlp reissue of ‘come visit the big bigot’ by severed heads, oone of the longest surviving bands to emerge from the australian post-punk independent music scene. they began in sydney in 1979, incorporating elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. as the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. after many line-up changes featuring garry bradbury and psychedelic guitarist simon knuckey, severed heads was the vehicle for composer tom ellard. ‘come visit the big bigot’ was severed heads’ first record to be released commercially simultaneously in australia, north america and europe in 1986. it was a prime period for this industrial dance music and bigot was a respected album that did well from the tour they did with skinny puppy that same year. quite a few people still define the band by this period. ‘come visit the big bigot’ was made on a fostex 16 track recorder in tom’s bedroom, employing the newly acquired akai s612 sampler and roland sh-101 to create most of the drum sounds. the album signaled a new direction, flirting with the dance floor and the pop song. presenting the heads at their most cohesive, while retaining their distinctive musical stamp. tom’s vocals are harmonized, slowed down, sped up, run through fuzz boxes, backwards, drum machine rolls, sampled guitars, horn sections, and voices but with a subversive rather than malevolent intention. tape loops are more subtle and define their own space and texture. like the original australian version of the album, we’ve included a bonus disc featuring three extended remixes by sydney dj robert racic (who produced the edited 7” version of “petrol” we reissued in 2015), plus three b-sides from the ‘twenty deadly diseases’12” and two additional tracks from the same recording sessions.

minor science returns with more genre defying bass experiments on this 2 track whities 12inch the sleeve designed by alex mccullough, is a 12inch accurate scale reproduction from willem claeszoon hedas painting still life with gilt cup (currently hanging in amsterdams rijksmuseum).

justin timberlake, the multi-platinum pop star, actor and owner of handfuls of grammys and emmys, composed the orchestral film together with mitchell owens. his debut composition is nothing but amazing. justin takes you on a minimalistic reflective trip. the score is emotionally driven and shows pure honesty, which is the most supreme form in which an artist can express himself.
first pressing of 1.000 numbered copies on solid red 180 gram vinyl.

a year after danger, their debut ep on blank mind, durban-based crew audioboyz join forces with hypermedium to deliver another instalment in the growing chronicles of gqom, the darker deviant that grew out of south-african house and whose shockwave is still resonating across western dance floors.

we are pleased to announce the next vinyl only release on pathway traxx and an exciting new direction for the label focusing on the more minimal/tech side of house while still maintaining its true house roots. label owner niko is accompanied by underground house hero nima gorji and the in-form trend setter primarie from the formidable tzinah records.

since four triangles was founded to release material from previously unheralded artists working in the space between house, techno and vintage rave, it seems fitting that the label’s second release should come from an analogue explorer still making his way in the world.
you may have stumbled across jonas friedlich’s debut solo 12”, a thrillingly forthright collection of hardware workouts that slipped out, unheralded, on molten moods late last year. we think the five tracks showcased here offer an extended glimpse in friedlich’s distinctive musical vision.

running a label with the ambition to push new and unique voices isn t always an easy task. while finding new artists is about as hard as finding a black t-shirt in berlin, most budding artists seem pressured to conform or mimic the already established, only to be heard. performing under the artist name bleie, oakland resident sarah bly is not one of them. originally hailing from seattle, she indeed works with the mortar of techno form, but uses different bricks altogether. it s a hard sound to articulate, at first, it s almost alienating to ears worn by years in dark clubs. its mercurial, yet still surprisingly club compatible nature makes it an aural tiger balm – it burns and soothes at once. this compositional depth is perhaps a result of bleie s background as a trained pianist and violinist, by which she transmutes the commonly associated tropes of the genre. bleie lets the elements rule over the form, giving the tracks a morphing and unpredictable feel. obviously we were instantly intrigued when stumbling across her music, and now extremely proud to present her vinyl debut certainty is only a feeling . four tracks of unique techno so brimfully suggestive that it s nearly peerless. we can t imagine this leaving anyone unaffected.

since his last appearance on hemlock (2015 s double ep hek025) hodge has produced a seemingly effortless sequence of celebrated eps and collaborations for livity sound, berceuse heroique and no corner. equally comfortable squaring up with heavyweights such as randomer and peder mannerfelt as he is maintaining a prolific solo production output, hodge has cemented himself as a leading voice in uk dance music and a champion of the elusive sweet spot where functional techno resonates with soundsystem culture. a quick listen through his recent ra mix is a great way to keep up to speed with his recent output. one for the hemlock fans who have been patiently tolerating this year s more experimental cuts. swing for the fences is straight down to business getting the kicks in below one of those ear-wormer percussive atonal toplines hodge does so well… the drop is one of the heaviest we ve heard this year and tipped to raise some fingers, open mouths and spill drinks across dancefloors and tv studios worldwide. less pool cue more pool party aomame is a breezy melodic (patio) heater powered by tough drums and intricate percussive work. arranged for both the dancers and the heads it freely refreshes and translates the main theme with a precision and playfulness that few producers can match. medway will warm up or cool out the dance with big room sirens and some rude detuned drum work. still no messing about on the b2: it s a hodge thing all the way.

by the time mobb deep hit with their third album – hell on earth – they were solidified street legends. coming off the critically acclaimed the infamous, havoc and prodigy hit the lab and came back with a soundtrack that is fitting to its title. havoc’s production is atmospheric, laced with his trademark drums loops and sharp pianos stabs. add prodigy’s trademark flow and it’s evident that the pairing is such an amazing match. while hell on earth is essentially a continuation of the infamous you can still hear the growth in both performers and hell on earth stands as some of their best work. the album features guest appearances by nas, raekwon, method man, and frequent collaborator big noyd.

180 grams audiophile vinyl deluxe triple-gatefold sleeve ( e l p cut-out) limited to 1000 copies.

home is procol harum’s fourth album, released in 1970. with the departure of organist matthew fisher and bassist david knights and the addition of the remaining musicians (gary brooker, b.j. wilson and robin trower) former bandmate bassist/organist chris copping from the paramounts, procol harum was, for all intents and purposes, the paramounts again in all but name.
remastered audio on 180 gram audiophile vinyl, including 4 page insert.

classic 2nd album repressed in colour! prod.by 9th wonder, vocals by phonte & big pooh / feat. elzhi (slum village), yahzarah, darien brockington, joe scudda & chaundon

* two brand new reggae roots vocal tracks featuring danny red and paul fox are now available on a double a side 12 inch vinyl ep.
* both singers have been busy in the uk sound system scene since the early nineties. also featured are, a side: ras happa (bongos) & fullness (drums).
aa side: jahman dan (bongos) & fullness (drums).
*the two songs are called lion in me and still chanting . each song features both singers in collaboration style and also has two dub versions. it is a joint project between sound business and ababajahnoi labels on the newly formed red fox label.
*12” in plain sleeve, poly sealed outer.
*vocals & dub recorded at sound business.
*produced by: paul fox.
*limited initial press.

after a couple of acclamed records likethe recent to france ep from javonntte and earlier the latest kai alce s work to date, sounds of the city s boss is setting sounds of the streets, a fresh imprint dedicated to the rich sounds of the 70s and the 80s, 2 very important decades in the history of the dance music. first reference is wulysse who presents a 3 tracker labelled * hotspot*. a bouncy mix of several assumed references - disco, funk, boogie, house, new wave and yeah, acid!

joshua tree - 30 years re:isue - comes on double heavy weight vinyl

in england war gerade die punk-revolution ausgebrochen, als heavy-metal-act fühlte man sich orientierungslos. im benachbarten studio in miami nahmen the eagles ihr album hotel california auf, aber nur im gebrauch von kokain fand man eine gemeinsamkeit. das entstandene musikalische resultat fasste das britische magazin mojo trefflich zusammen: technical ecstasy is the sound of sabbath trying to make a grown-up, radio-friendly rock record and, in some parts, it works!«. das cover der graphik-agentur hipgnosis hingegen wurde legendär. auf die bedeutung angesprochen, meint osbourne: two robots screwing on an escalator!

while still popping up on the likes of delusions of grandeur and mister saturday night, nebraska has been lately channeling much of his energy into his emergent friends & relations label as a vessel for his own productions. this third installment on the label kicks off with the warm, honey-coated chords of rien ne vas plus, which rides on an easy groove and lets the keys sing out in a hazy summer reverie. the version follows suit with a similar disposition, while both takes on dont you know on the b side deal in a common goal to gently coax all kinds of woozy soul sounds through a laid back house framework.

matter of the heart! district 66s co-owner clark davis established with the labels 3rd ep a symbiosis of the past, present and future. the a1 and b1 reduced and functional original tracks are remixed by two of davis respected producers. in the late 90ies, alexander kowalski was one of the key artist which influenced him and still remains with his very own signature sound. nowadays state-of-the-art markus suckut reflects with his minimalism and on the point grooves the artistic present and future of davis definition of techno.

roots vocalist barry brown has an inimitable style that has long made him a favourite of reggae enthusiasts. drawing from the popular phrasing of horace andy, but morphing it into his own delivery through the kind of wordless slurring that occasionally resembles the sound of a quacking duck, brown found his way into the jamaican music scene through the many amateur west kingston talent contests of the early 1970s, along with fellow aspiring talents such as johnnie clarke, sugar minott and the african brothers, and the mighty diamonds. he also honed his vocal skills on local west kingston sound systems such as tape tone, together with other young dancehall-oriented youth such as barrington levy, sammy dread, roy taylor and tristan palmer. there are still conflicting claims as to who was the first to record brown, with production veteran bunny ‘striker’ lee and sugar minott among the contenders, but in any case, during the late 1970s and early 1980s, he produced a range of captivating work for various producers, much of which is rightly coveted today. ‘ital rock’ appeared on barry’s 1983 lp i’m still waiting, issued by rocktone international, a spin-off of sugar minott’s black roots outfit, based in queens, new york (with a further branch in toronto), the b-side has dean fraser’s previously unreleased electrifying saxophone cut, rescued from dub plate obscurity by jah fingers.

repress - without dl code - susso, aka bassist / producer huw bennett, creates music inspired by, and directly sampling, the magnificent sounds of the mandinka people, recorded during a recent trip to gambia. initially travelling with the aim of gaining perspective as a musician and to discover a new world of music first hand, huw found himself humbled by such a welcoming community of artists, mostly belonging to the celebrated susso and kuyateh griot families.
the tracks are composed entirely from original source material, field recordings and huw’s talents as a multi-instrumentalist, performing tuned percussion from the region including the mandinka balafon, kutiringding drum, aswell drawing on his skill as a professional upright / electric bassist. the music produced has a contemporary electronic sound, whilst still paying homage to a traditional gambian aesthetic. keira (meaning peace) guides the listener through huw’s journey up the river gambia, being welcomed into remote dusty villages, where your people are the most important thing in life

during the mid-80s and early 90s movin’ records defined the new jersey sound. a skate-shop-turned-record-store run by the so-called fairy godmother of house abigail adams, movins first output was ive got the music by boyd jarvis in 1987, followed by music from game changers blaze, kerri chandler, tony humphries and smack, straight up “jersey jams” that producers are still attempting to replicate to this day. still the movin’ records catalogue throws up gems that sound super fresh along with plenty of lightbulb moments of musical discovery. after becoming a surprise hit from the b-side of kamar’s ‘in every way’, movin’ records presents this remix single to give dancefloors a serious shake-up. kerri produces some heavyweight remixes of this single, along with regular collaborator yahya mcdougald. as with all of kerri’s early productions, this sits proud alongside his latest, more mature output thanks to his naturally instinctive style. the single features vocals from calvin reed sr., kerri chandlers actual grampa!