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Get ready for the next exciting release from Joule, the renowned label helmed by Janeret. Delve into four deep tracks, including a remix from the label boss himself.
Now a 'cult classic' , repressed for 2023 ears on All City Dublin. Onra started the project in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn’t come back to France without bringing back some wax. After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records - he almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib and started making beats with material that he wasn’t quite used to …
The iconic John Beltran returns once again to Oath to exercise his passionate love affair with all things Balearic, and to say he expanded upon his 22’ EP with style is a severe understatement..Based purely on his outputs over the years, there is little that seemingly John Beltran cannot do, and the results of his near 30-year long career are there for all to experience, taste, and sample. His music simply speaks differently, touching upon the palette of emotions that make up the human experience, be it the tenderest of sensory affirmations through to the euphoric, emboldening sweeps that get the listener lost deep within themselves – in the most perfected way imaginable. Emerging from the spectrum of sounds that made up that oh-so-referenced decade of the 90s, Beltran stands tall amongst his peers in this sense, with his discography alluding to many differing spheres of influence, a testament to the age-old adage of never standing still – there’s always room to grow, to experience, to nourish. From the sheer dance-laden brilliance of Placid Angles, the experimental grooves of Nostalgic, the techno excellence of Indio, and everything that permeates the music released under his own name, John Beltran continues to reset the goalposts, and we simply have to sit back and watch it all evolve right in front of us.True to his broad-reaching range of influences, Beltran’s passion for Jazz, Brazilian and Balearic music has shone through in numerous ways within his career. His early 2000s LP releases on Ubiquity and his work with Sol Set are prime examples of how to merge live percussive influences with gorgeous, emotive synth work and vocals, and clearly, these ideals stuck with Beltran as he revitalized the Sol Set project for last year’s ‘Ola de Novo’ on All Good, alongside the magnificent ‘Para Viajeros’ EP. Both records showcased a majesty of instrumentation, a series of moods that are deeply evocative and pleasant to the ears on numerous levels. But there is never a sense of being lost within it all, as all the elements work tirelessly to create a perfected atmosphere of being, a cordial and highly tuned environment that feels so very believable. Its music you want to hold in your hands for the rest of your days, a vessel that transports to that idealised version of life where everything feels just right.‘Serendipia’, Beltran’s new LP, carries forward the ideals of Sol Set and reignites the quietly evolving flames that were lit last year, and as an elaboration on his craft and its sound it’s really quite something. The title suggests the pleasantry that can be found in pleasant surprises, and whilst we aren’t surprised at the technical application or instrumentation on display (a signature of Beltran throughout his career). Still, we are pleasantly surprised by the display of emotive tools that are used to build up the soundscapes in which we find ourselves. Every tune is given time and space to breathe, and touches upon the lexicon of Balearic language and vibrations, stopping by the coast on multiple occasions to the point which you can feel the sand between your feet. The rhythms are set to the rhythms of life, such as on the tracks ‘Taina’ and ‘Cachaca’, which focus on up-tempo latin and jazz rhythms to get the pace set beautifully. Many of the tracks, such as ‘Em Trancoso’, ‘Sa Coma blue’ (featuring John Arnold), ‘Ask Anlari’, and ‘La Hermosa Vista’ have trance-like qualities to them, with free-flowing pianos and synths evolving expertly over simmering, aquatic rhythms. Towards the business end of the record, ‘Suenos Soleados’ and ‘Mallorca’ take us back to the overlook, basking in the 30 degree heat as the blue hues envelope the senses. To wrap things up, ‘Yangu Milele’ movs us to 5am or so, perhaps, where the rhythm is slowing down but the intensity remains just the same. As journeys go, there’s so much here to fall deep within, to be unravelled both within and out width the mind and body – to be honest, we come to expect nothing less from someone like John Beltran, who’s continual dips into the space between instrumentation and emotion conjure up records like no other.Closing your eyes for a moment when engaging with this record transports us into a world of vibrancy, interactivity, and colour, where the thoughts and feelings of a thousand experiences transpose themselves onto us, inviting us to part with something of our own. John Beltran has hit a rich vein of form with his recent excursions into this kind of musical environment, but its one he is very familiar with, one he has a true appreciation and understanding of. No wonder his music speaks in such a way, and on this record his expert approach in present and correct – and the music itself, well, let’s just say transformative and majestic might be two ways of describing but a small part of the experience. Summer’s round the corner, time to escape once again…
In the dewy glow of dawn, a musical motif hypnotises you :Leitmotiv second release; and the sounds come from the East of Europe: Orbit & ËN delivers the goods.Orbit is the A side and ËN takes over the B side.
✺ Arranged by Ryuichi Sakamoto (YMO) and Juzo Seo.✺ Features Haruomi Hosono (YMO), Shigeru Suzuki, and Yukihiro Takahashi (YMO).✺ Remastered by Bernie Grundman from original master tape to 96KHz/24bit digital high resolution master.✺ Comes with a lyrics/credits insert and a liner notes insert.✺ Single Jacket with Obi Strip.✺ Fourth press on red colored vinyl.“Mignonne” is Taeko Onuki’s 3rd album released in 1978, which was the follow-up to her masterpiece “Sun Shower”(1977).Her long time collaborators from Tin Pan Alley continued to collaborate with her for this album. Arranged by Ryuichi Sakamoto and Juzo Seo, and featured musicians such as Haruomi Hosono, Shigeru Suzuki, and Yukihiro Takahashi.The sound is similar to her previous albums, with rich horns and strings arranged on top of Tin Pan Alley’s soulful rhythmic sections. The tracks have seen a resurgence of late, some of which being covered by contemporary Japanese artists ( “Yoko Gao”, “Umi to Shonen” by Akiko Yano, “Totsuzen no Okurimono” by Mariya Takeuchi).
Head hydro-tripper Black Eyes has risen from the depths of the deep to release his debut solo record Hydro-Trip vol 1. Fresh off the sea creature's back from co-producing the 'Planet People - Terra Firma EP' with synth botherer Reedale Rise which came out earlier this year. His solo endeavour takes us on a jazzier vibe yet still keeping true to the deep ways of the water. Lead track 'Understood Sea Being' plunges us on a rugged ride with deep Detroit chords and Black Eyes's own punk-like vocals throughout. 'Let's Get Deeper' slows the pace up with chopped up samples and introduces us to the classic hydro-trip sound we've grown to love down here in the underwater cities; it's deep and trippy. 'Scuba Lyfe' picks up the pace a bit but evolves into a low down dubby groove mixed with some hi-tek jazz. Asking Rolando (who we all know was part of the infamous Underground Resistance and Los Hermanos, as well being a Berghain resident DJ more recently) to come on board the subterranean vessel was an obvious choice for remix. He switches the gears and adds some fluid Detroit techno to finish off the EP. Berlin based Deskai masters the EP who also mastered the Planet People EP so you know what to sonically expect.
For their second LP ‘Elios’ on Periodica Records, musical collective “Parbleu” - led by Andres Balbucea and Andrea De Fazio - reach towards realms both astral and ancient to present a solar sonic suite of sky-seeking exotica inspired by the mythological adventures of Helios. Elemental grooves anchor textures of cosmic magic and faraway fantasy, wherein panoramic conga and bongo displays lead to limbo line hysteria and fat-bottomed bass grooves slide through layers of galactic grease. Phaser riffs and flangers arps fly in unison, lyrical runs dart and dash through flourishes of baroque Turkish psychedelia, and as moonbeam lasers fire over thrilling balearic escapes, Iberian reeds dance joyously amidst jangling six-string sunstrokes.Captured in part at the West Hill Studio, the album is an evocative and polychromatic display of sight and sound, one where Arabian strings riding a desert wind dub skank give way to passages of cinematic folk funk, or elsewhere to sections of pompous progressive rock and angular jazz fusion. And as with Parbleu’s first LP ‘Danse Cette Zik,’ there is an awe-inspiring display of vocal talent across ‘Elios,’ as soft-soul seances, choral pop communions, 60s soundtrack spirituals, Italo diva poetics, and intoxicating call-and-response spells rain down over the mystical melodies and dancefloor dynamite.
Chris Korda’s latest EP “Primitive Man” interrogates the myth of human superiority and the barbarism that flows from it. Despite our current obsession with social justice, gross inequality persists between humans and non-humans. Our species supremacy echoes Biblical edicts to subdue the earth and have dominion over all its creatures. Many animals experience emotions identical to ours, including pleasure, pain, comfort, fear, curiosity and boredom, but that hasn’t stopped us from oppressing and murdering animals on an inconceivable scale.The title track ironically contrasts primitive and civilized ways of life with sharp lines such as “No more swinging from trees, you’re done with that / Sit down, watch TV, drink beer and get fat.” “Lunch Break” is a thunderous breakbeat reworking of Korda’s pro-vegan anthem “Fleshdance.” The remaining tracks are instrumentals subtly influenced by traditional Turkish music. Korda pioneered complex polymeter—the use of multiple time signatures simultaneously—in electronic dance music, and “Primitive Man” continues that tradition, but in a stripped-down, minimal way.

For the very first 7’’ of the label, La Freak reissued this very sought after disco gem recorded in Quebec by the one and only Nina Dunn. Inimitable voice (she was vocalist for legends like Zachary Richards), "Stay and Dance" is a clavinet, strings and horns arrangement masterclass, that won’t leave your 45's bag!
Following up on the success of House Of Riviera released in 2019, Mona Musique releases House Of Riviera Volume 2 curated by label head Nick V, a compilation that pays homage to forgotten gems of the classic Italian House scene, circa 1991-1994. 9 tracks from the artists and record labels that were central to this seminal era of House music, including two never released cuts from Ricky Montanari, Davide Ruberto and Ivan Iacobucci.In the early 1990s, Italy hosted one of the most prolific scenes in the burgeoning world of House music. Whilst the majority of Europe was only just beginning to digest the arrival of this new musical genre born in the US, Italian clubs, DJs and labels were hot on the heels of their counterparts in the already established scenes of New York and London. The clubs of the Adriatic coast, also known as the Italian Riviera, were full every weekend, hosting the major US and UK Djs of the time, but also seasoned resident DJs that had been honing their trade since the early 80s. By the early 90s, Italian House music was regularly exported around the world with labels such as UMM, MBG, Flying, Palmares, DFC, Oversky, Zippy, D:Vision, Irma - and its sublabels Antima and Calypso, releasing tracks inspired by the original New York House and Garage sound, but with a very different, unique and emotional take. This was the specific aesthetic that was to become the House sound of the Riviera, the soundtrack to the golden era of Italian House music.With all releases between 1992 and 1994, House Of Riviera Vol. 2 unites a selection of 9 tracks that encapsulates the atmosphere, the energy and creativity that reigned during that era. Including 2 previously unreleased tracks from Ricky Montanari and Davide Ruberto, and Ivan Iacobucci, both in the vaults since 1992, the compilation spans the different shades of the genre : from classic deep vocal house by Ricky Montanari and Sound Set, to the more dubbier late night dance floor cuts by Workin’ Happily and Night Communication, with Mental Detector and More Heavy Soul bringing some well chosen disco samples to their contributions, without forgetting the characteristic deep Italian dream house style by Green Baize. Artists featured are iconic producers and DJs from the day : Ricky Montanari & Davide Ruberto, Alex Neri & Marco Baroni, Ivan Iacobucci, Workin’ Happily and More Heavy Soul.
Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently seeped its way into popular culture. Lovingly restored and remastered on 180g vinyl with liner notes.Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in 1984, the track list includes the latter day hit ‘Only You’ and ‘Things Fall Apart’, the melody of which was lifted for Young Franco’s 2020 single ‘Fallin’ Apart’
Late nineties saw three releases of Boo Williams on Titonton Duvante run Residual Records. From these three eps we pulled the four best tracks, which make up this 'Residual EP'. Four times raw, deep, melancholic, late night grooves at which Boo is a master. Essential house music!
Happy to see the 'Doing It In Lagos' compilation from 2016 on Soundway being repressed. It's one of the few comps out there that put together so many amazing boogie tracks hailing from Nigeria. Nowadays it's really tough to find good condition copies of the original records, and if you do it will cost you a lot of cash too. This 3 LP with 7 inch bonus takes ((arguably) the standout tracks from the LP's and to create this 20 track opus. It's safe to say that it has a great bang for buck ratio if you like that infectious boogie sound infused with catchy synths, bumpin' basslines and often killer drumcomputer programming.If you are new to these sounds it's a perfect intro into the works by these very talented musicians that had a high output during the end of 70's and 80's, we encourage you to dive deeper into material from the hands of for example Jake Sollo, Dizzy K. Falola, Tony Okoroji, Odion Iruoje, Nkono Teles. You will find many more names along the way..Compliments for Uchenna Ikonne who co-compiled this and accompanied the release with liner notes.
Part 1 of the Needs (not wants) retrospective, comes with an insert with a collage of archival photos and liner notes by Gerd Janson. Re-mastered by François Kevorkian.Sometimes, three words are enough to tell it all. Accordingly, the core story of Needs – the musical adventure of brothers Lars and Marek Bartkuhn and their partner Jan “Yannick” Elverfeld – can be understood from the inspiration behind this compilation’s title. Paying homage to the title of a lesser-known Marshall Jefferson and Ce Ce Rogers production for Strictly Rhythm, Needs (not wants) typifies their aesthetic, ethos, innovations and modus operandi.Materializing in this collection are some of the outfits’ best takes (from 1999 to 2006), moments of glory and predictive flashes of genius paint a beautiful picture of what can happen if devotion and imagination are paired with moxie and skill.
Part 2 of the Needs (not wants) retrospective, comes with an insert with a collage of archival photos and liner notes by Gerd Janson. Re-mastered by François Kevorkian.Sometimes, three words are enough to tell it all. Accordingly, the core story of Needs – the musical adventure of brothers Lars and Marek Bartkuhn and their partner Jan “Yannick” Elverfeld – can be understood from the inspiration behind this compilation’s title. Paying homage to the title of a lesser-known Marshall Jefferson and Ce Ce Rogers production for Strictly Rhythm, Needs (not wants) typifies their aesthetic, ethos, innovations and modus operandi.Materializing in this collection are some of the outfits’ best takes (from 1999 to 2006), moments of glory and predictive flashes of genius paint a beautiful picture of what can happen if devotion and imagination are paired with moxie and skill.

Single LP with 8-page bookletHigh-octane tour-de-force by legendary post-punk group, INU. Widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! remains shockingly unknown to the rest of the world. Led by literate but unhinged Machida Machizo, a magnetic stage presence who sang in a thick Osaka dialect that sounded like nothing else at the time, INU took Japan by storm in the late '70s with their powerful and often belligerent live show. Their membership changed frequently but INU's final lineup -- the group that recorded Don't Eat Food! -- was sharp as a knife, and the band's airtight debut still wows forty years later.It's hard to describe INU's unique sound in comparison to other bands, but maybe imagine a more fidgety Richard Hell & The Voidoids jamming with PiL? Better yet, just listen for yourself.This first-ever fully-licensed edition has been remastered from the original tapes and cut by Kevin Gray and includes an 8-page booklet with never-before-seen photos, lyrics in English and Japanese, and liner notes by Syojiro Ishibashi in English and Japanese.
2023 *REPRESS*Compiled by Hunee, 'Sounds from the Far East' features highly sought after material by legendary Japanese house producer Soichi Terada and fellow producers Shinichiro Yokota, Manabu Nagayama!Soichi Terada is an adventurous multitalent and over all a good sport. He was born in the sixties, and as a child he loved to play on his fathers' electric organ. Terada majored in Computer Science and Electric Organ and after he graduated, he founded his Far East Recording in 1989, because he couldn't find a label for his compositions at that time.The sound of Far East Recording is very much inspired by early nineties US deep house. Soichi Terada went out to parties in the late eighties, were he was equally influenced by house and hip-hop. A few years later, Terada took on producing music by using digital sampling. In the early nineties he occasionally DJ-ed with a DAT player and some reel tapes, instead of using records and turntables."Sounds From The Far East" shines new light on Soichi Terada's label and consists of material that was originally released in the early nineties. Next to Terada's music, Hunee also selected a few tracks by fellow artist Shinichiro Yokota for this compilation, as well as 'Sun Showered', a track based on the incredible Paradise Garage gem called 'Sunshower', by Terada and Nami Shimada.
A selection of '70s and '80s prime-time Japanese reggae pop ! Featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.Vinyl LP with 4 page insert. Limited ObiTokyo Riddim 1976-1985 is part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1970s and 1990s.If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.But the story of Japanese reggae is not a linear one, and the music that is collected on Tokyo Riddim 1976-1985 captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.Rather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.Among them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lengi’, Chew Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly & Robbie’s Compass Point sound.Then there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenki Ni Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.While these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.
In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.Remastered and packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Fruits of The Room, he takes us on an expansive odyssey through his personal visions for deep house, street soul, jungle/drum & bass, digital dub and the slipstream moments between genres. In complement with this, Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat.
In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.Remastered and packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Fruits of The Room, he takes us on an expansive odyssey through his personal visions for deep house, street soul, jungle/drum & bass, digital dub and the slipstream moments between genres. In complement with this, Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat.
Sowaka, recorded in 1984, displayed an innovative sound that went beyond genre – mixing dub, world, jazz, electro, hip-hop and avant-garde. A perfect match of some of the most experimental artists of that time resulting in an extremely sought after and singular piece of music of the golden Japanese era. A talented crossover.In 1984, working with Bill Laswell, Michael Beinhorn and Midori Takada would be unlike working with anyone else Genji Sawai had before, pulling him out of the J-jazz experimental scene he was based on. Rather than work off written music, they’d build songs like cooks. Genji might supply the ingredients, perhaps the tonal choices – sax, FM synths, drum machines, and Bill would task himself to do the “cooking”, creating the overall image of the song. It’s the use of imagery to have a conversation with each other, musically, that just felt so different to Genji.Unlike the other musicians who contributed to Sowaka, musicians of impressive, rarefied technique like Midori Takada, Shuichi “Ponta” Murakami, and Kazuhiko Shibayama, notation or sheet music wasn’t a part of Genji’s vocabulary with Bill. With him, drawings were how songs were built from the ether. Whatever image a demo conjured up – that’s where the song had to go.You hear it on songs like “Hikobae” that predicted the chopped and screwed sound that would revolutionize hip-hop years later. On this track what started with a mental picture, of some kind of tree shoot, metastasizes a vision full of no-wave sax skronk dosed with pointillistic dub affectations. Although, Sowaka wasn’t tied inherently to it’s original meaning – the final utterance from the Buddhist Heart Sūtra – it’s philosophical meaning wasn’t too divorced from the true meaning (or at least, his truest meaning) Genji placed on it here: getting things done. Simply put, all his high-minded ideas wouldn’t have come to fruition unless all involved put some serious work into getting the project over the finish line. In five cracking days the album was put on tape and was then jettisoned off to NYC for Bill to put its final touches.
Originally released in 95’ via CD on the seminal U.S ambient label, Silent, Numinous Island is the result of live jam sessions between Yokota and Castle. Several original tracks were recorded to DAT tape and then mixed to create a long form audio travelogue to an otherworldly destination. The result is something similar to the KLF’s Chill Out paired with Yokota’s unmistakable sound palette and Castle’s gift for storytelling.The vinyl edition has been faithfully edited by David Fogarty for uninterrupted hi–fidelity vinyl playback, maintaining the original track sequencing and energy of the CD version.

New Parisian label, Disques Messager, presents its first release and not the least. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which begins rather well, with the official reissue of these two stirring titles by Brazilian singer and composer Cristina Camargo.Native of Rio De Janeiro, Cristina Camargo had quite a short career, releasing only 2 albums in 1980 and 1981, but still enough to collaborate with some of the best composers, musicians and producers at that time. Her first self-titled album was therefore produced by Robson Jorge & Lincoln Oliveti and recorded with some of the finest musicians.“Moral Tem Hora” comes from this same LP and is a perfect example of the unique alchemy that emerged when the Disco and Boogie invaded the Brazilian music scene. A quite hard to find Boogie killer, composed by famous brothers, Marcos and Paulo Sérgio Valle.On B side comes “Minas Do Rei Salomão”, a more chilled-out title extracted from Cristina’s 2nd album, Santa Maravilha. With its funky slapped bass, airy keyboards and the sweet vocals of Cristina, the song seems made to sip a nice cocktail at Ipanema.
For the very first 7’’ of the label, La Freak reissued this very sought after disco gem recorded in Quebec by the one and only Nina Dunn. Inimitable voice (she was vocalist for legends like Zachary Richards), "Stay and Dance" is a clavinet, strings and horns arrangement masterclass, that won’t leave your 45's bag!
Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago.Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles.On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato.Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!
Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik, Kraak & Smaak, Jitwam, and Turbotito & Ragz.Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985 Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering Bollywood electro and leftfield 80s original soundtrack recordings.Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’, the label now offers up the first of two full-length releases based around her music. Cosmic disco pioneer, Studio 54 icon and jazz improviser Asha Puthli has recorded, sung or shared the stage with the likes of Roy Ayers, Alice Coltrane, Grace Jones, Barry White, Andy Warhol and many more. From David Mancuso's The Loft, to Giorgio Moroder's early work with Donna Summer, to hip-hop where she has been sampled extensively, Asha's musical influence and impact is profound. She was the first artist of South Asian descent to successfully crossover and make a mark on dance, jazz and pop culture in the West.For this LP, Naya Beat tracked down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and cruising chords next to another sensuous top line from Asha Puthli.This is a stunning collection of remixes that pay homage to the originals while taking them into new sonic territoryA series of single drops will precede the whole LP; Yuksek (21st July), Maurice Fulton (4th August), Turbotito & Ragz (18th August), Psychemagik (1st September), Kraak & Smaak (15th September), Jitwam + LP (22nd September).
Mofak is an artist from Marseille (France) who has been active in the world of Funk and G-Funk for many years, mastering the art of the Talk Box to perfection. After collaborating with major artists such as X-zibit, Kurupt & McEight, he's back with a solo project.His music is even more open, with not only a Funk and G-Funk sound but also a Nu-Disco flavour that brings together even more generations and audiences.There's no doubt that fans and newcomers alike will find something to enjoy.
An essential part of the European disco history... "Livin' Up" and "Stop" by B.W.H., these two tracks are true 'milestones' and Italo-Disco in the purest form. The sound that only the most virtuous and innovative young Italian DJs and arrangers were able to create in the early 80s. B.W.H is Stefano Zito (aka Black Way), Stefano Galante, and the late Carlo Favilli, "Stop" is dubbed "the best B-side ever!", but "Livin' Up" is also incredible, making this vinyl the hottest 12" ever assembled in the Italo Domain and for decades incredibly underrated.It was I-f's Mixed Up The Hague mix that brought this to the attention of a wider audience and have been considered one of the holy grails of Italo ever since. Here the 2 original versions from 1983 remastered with care and passion by Dom Scuteri and Claudio Casalini (Best Record) in two different editions: the classic one in black vinyl and the strictly limited one in gray vinyl. Two essential tracks available in a high quality edition.
With "Times Are Tight" we have the missing link of the "soul chain" where Neddy Smith, Steve Kahn & Co.,Touche', Maxine Singleton, Jagg ... have found a pinch of glory. The history began 40 years ago when S.P.Q.R. (sub-label of Best Record) released "Danceteria", a wonderful compilation with 10 disco-soul-funk songs produced in the States among which the fantastic tune written, arranged and performed by Jimmy Young, still relevant today, that during the summer 1983 was rocking half world's dancefloors. The vocal side of "Times Are Tight" is so good for vibe and sentiment, while the instrumental version is early 80's disco-funk perfection. Great groove with really interesting instrumentation and variation. Yes indeed! This is the classic funk anthem from the early 80's - the lyrics are so apt for the current economic situation "Don't give up, your day is coming!"
Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently seeped its way into popular culture. Lovingly restored and remastered on 180g vinyl with liner notes.Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in 1984, the track list includes the latter day hit ‘Only You’ and ‘Things Fall Apart’, the melody of which was lifted for Young Franco’s 2020 single ‘Fallin’ Apart’

The Machine is back. Following the 2022 release of the wildly successful, God Don't Make Mistakes, Conway the Machine returns with his next studio album, 'Won’t He Do It'. Aptly titled for touching on the various obstacles he's been faced with and overcome to be in the position he's in today, Conway hopes to inspire listeneres to imagine the possibilities they themselves can achieve by breaking through the walls that have been put up and relentlessly pursuing their goals to turn their dreams into reality. The 14 track album sees appearances by longtime collaborators Westside Gunn & Benny the Butcher, as well as Jae Skeese, Sauce Walka, Juicy J, Fabolous, Dave East, GooseByTheWay, 7xvethegenius, Jozzy, Ransom & Drea D'Nur. Production is handled by heavyweight producers such as J.U.S.T.I.C.E. League, Khrysis, Daringer, Juicy J & more.
Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.
Sideshow’s new project 2MM Don’t just stand there! is set for release via 10k. Featuring production from Alexander Spit, Popstar Benny, Ayochillman, Sideshow himself, and more. Themes range from adventures on tour, struggles of day to day life in the DMV, to the ongoing conflict against Sideshow’s people in his homeland of Tigray. It follows collaborations with the likes of MIKE, The Alchemist, Boldy James, Jadasea, and Nappynappa.
✺ Limited to 500 copies."Don't Stop" is the third album retrospectively released by Ghia. As the subtitle "Early Works & Artefacts 1984-1987" implies, it features some of their earliest compositions as well as tracks that were recorded during the same period as their "Curaçao Blue" LP.The album is a fusion of diverse music styles. Listeners will delight in a range of genres, including electro, funk, soul, jazz-funk, synth pop, and even rap/hip-hop, all woven together as a cohesive work that remains mostly instrumental. As a whole, "Don't Stop" represents Ghia's funkiest and most experimental release to date. Notably, the LP features a rap version of Hermann Hesse's controversial German poem "Armer Teufel am Morgen nach dem Maskenball" ("Poor Devil the Morning After the Costume Ball") from 1926, accompanied by a drum machine rhythm and funky guitar. This poem depicts a person who drank too much the night before, telling the story and describing his hangover. The title track "Don't Stop" and the thrilling minimal electro-funk tune "3 A.M. at Moëf Gaga" both evoke old-school electro influences. The latter references the Spanish discotheque Moëf Gaga, located on the Balearic coast, which the dynamic duo of Lutz Boberg and Frank Simon frequented during their 1980s holidays. While the exact music played at 3 A.M. is unknown, listening to Ghia's track will undoubtedly capture the mood of the place.One of the key tracks of the album is "Message From The Other Side", which could easily be noted as one of the nicest European synth-funk instrumental pieces ever. The track is based on a sick synth bass line, sparkled with DX7 chord hits, funky guitar, and a delightful "marimba" solo in the last third. The solo was actually played on Boberg's keyboard, using a special sound cartridge. This particular track had to be edited and technically revised by Marian Tone and DJ Scientist as the existing demo version of the song could not be used as is. With its stunning groove, this track will surely be a DJ's favorite.Listening to the complete album, there is more of Boberg's keyboard wizardry: could you believe that the trumpet solo on "Jump In The Water" as well as the short but stunning slap bass solo on "Talk Too Much" were both played by on the DX7? However, this new release, unlike the jazzy "Curaçao Blue", is not about solos or virtuous playing - it clearly shows the duo's direction towards more electronic composition and clear song structures. The versions of "September Garden", "When The Rain is Falling" as well as "Talk Too Much" are actually instrumental mixdowns of vocal songs. And again, we get a blissful take of "Close To You", here a version from 1986. This soulful jazz-funk ballad could already be heard on "Curaçao Blue" while the final vocal version with singer Lisa Ohm can be found on the recently released "This Is" LP. This shows that the Ghia composers, Boberg and Simon, were perfectionists - tracks were reworked again and again, making them better and better.The album was mastered and restored with great care, and we are pleased to provide you with a perfect example of mid 1980s home-recording pleasures, tinged with a youthful spirit and providing a sound that cannot be recaptured anymore nowadays. Alongside "This Is" and "Curacao Blue" it should be another perfect addition to any 80s groove collection as well as a great pick for DJs that love and play disco, leftfield electro and funk.
Deluxe 20th anniversary edition of the classic Mr. Scruff album. 2LP (blue / red vinyl) with iconic artwork by Mr. Scruff & Airside plus infinity peelable trouser sticker on the cover to reveal silver and gold foiled 20th anniversary trousers. Includes MP3 download code.Originally released in 2002, “Trouser Jazz” was the hotly anticipated follow-up to the Manchester-based DJ, producer, record collector and cartoonist’s barnstorming Ninja Tune debut “Keep it Unreal” (1999). As a DJ, Andy Carthy aka Mr. Scruff plays across the board, moving between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, electro, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, posters, record sleeves, t-shirts and occasionally accompany him at gigs as live animated visuals.“Trouser Jazz” – recorded largely at Carthy’s home studio with engineer Danny Evans – neatly encapsulated Scruff’s ethos, his joie de vivre and his inimitable combination of tight knit funk, expansive sonics and dancefloor dynamite.“The album is a real mixture of moods and tempos, just like my DJ sets, twisting my influences and inspirations into different shapes,” explains Andy. “It was also the time when I started to develop my low-end addiction, as tracks such as ‘Ug’ and ‘Shelf Wobbler’ testify. The collaborations were enjoyable too, from Bernard Moss’ one-take flute that Seaming & Sneaky built a track around on ‘Valley of the Sausages’, Braintax’s medieval working-class themed rap on 'Vibrate', Sneaky’s bass and Andy Kingslow’s abrasive synth solo on ’Shrimp’ (which was the first of many tracks we did together), Andy K again on ‘Champion Nibble’, Niko’s glorious & touching vocals on ‘Come Alive’ and Seaming's otherworldly vocals on ‘Beyond’. When I listen back to Trouser Jazz, I can feel the fun and energy from those studio sessions.”Everyone including Pitchfork delighted in the record’s joyful eclecticism: “Trouser Jazz is quite possibly the answer to all of your sugar-fueled Saturday morning disco prayers, churning out one chocolate-frosted cereal box prize after another and bringing down the house with an inspired mix of rubbery funk, hipster soul and gleefully contorted, krush groovin’ hip-hop.”It’s tough to pick out highlights in a set of consistently top drawer productions but ‘Shrimp’ is an inspired fusion of Mizell Brothers cool and Roger Troutman’s squelchy funk; ‘Come Alive’ is a triumphant soulful jaunt blessed with Niko’s vocal and rooted by the most hypnotic bassline on the album. Meanwhile the outright dumb ‘Ug’ is “a giant teddy bear of a track… the subcutaneous bellow of the bassline, the Flat Eric keyboard squawks and slithering hi-hat snaps propel it to the top of the heap” (Pitchfork). Undoubtedly it was the aforementioned characteristics that made ‘Ug’ a stone cold backroom classic.
2xLP, Gatefold Jacket, Black VinylThe Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop's smoothest figures.
The now classic 3rd and final installment of Onra's Eastern beat explorations. 32 hip-hop beats formed the sample based project - dusty Chinese vinyl hissing and crackling throughout – resulting in an intriguing and spontaneous mix of the producers interest in exploring a newly-discovered style of music with his love for classic hip-hop production.Onra finishes this epic trilogy with class as a result of extended record digging across the Far East and the producer’s own development over the preceding 10 years. As a producer who has released records inspired by 80’s Funk, 90’s hip-hop and R’n’B, electronic and even a spiritual Jazz project, “Pt. 3” brings this stylised set to a close.

✺ Chocobo & Chill is an instrumental hip-hop tribute to the world of Final Fantasy.✺ Chocobo & Chill features fifteen of Nobuo Uematsu’s beloved Final Fantasy tracks flipped and remixed by beat-maker Rifti Beats.✺ Chocobo & Chill hits with nostalgic flair, taking inspiration from the Super Nintendo’s Final Fantasy VI and the Playstation era Final Fantasy VII – X.Chocobo & Chill is an instrumental hip-hop tribute to the world of Final Fantasy.Chocobo & Chill features fifteen of Nobuo Uematsu’s beloved Final Fantasy tracks flipped and remixed by beat-maker Rifti Beats. Chocobo & Chill hits with nostalgic flair, taking inspiration from the Super Nintendo’s Final Fantasy VI and the Playstation era Final Fantasy VII – X.The album begins with “The Prelude” and “Chocobo” — two iconic tunes found throughout the Final Fantasy series, making their first appearances on the Nintendo Entertainment System. Homages to “Final Fantasy VII” follow, with a gentle rendition of its main theme featuring pianist PianoDreams. This track previously appeared as the instrumental for “Lifestream” from Mega Ran’s Black Materia: The Remake. Fans of Final Fantasy 7 will also appreciate the sweet and melancholy “Aerith’s Theme”, and the iconic “Victory Fanfare”.The series’ next installment, Final Fantasy VIII, gets its turn in the spotlight too, with dreamy remixes of “Breezy” and “Balamb Garden”. The album takes a dark turn with final boss theme “The Extreme”, which is known for its appearance in Final Fantasy XIV: Shadowbringers.Magical and nostalgic vibes continue with Final Fantasy IX’s “Crossing Those Hills”, “Village of Dali”, and “Song of Memories”. Standouts from Final Fantasy X also appear; fan-favorite “To Zanarkand”, best known for appearing in Final Fantasy’s world touring orchestral show Distant Worlds. Acoustic track “Sight of Spira” (also known as Spira Unplugged) take the form of a acoustic guitar duet, and meme-worthy “Tidus’s Theme” features brass and orchestral instrumentation from Pontus Holtgren.Rifti Beats is a beat-maker with a passion for videogame and anime music. Chocobo & Chill is Rifti Beats’ first solo album with GameChops. It’s the seventh installment in the label’s “& Chill” series.
Publié en 1989 dans le « Weekly Shônen Magazine », « Hajime no Ippo » de George Morikawa est devenu au fil des années un manga culte de sport, et reste à ce jour une des plus longues séries-fleuve, toujours en cours de parution, comptant plus de 130 tomes.C’est tout naturellement qu’une version animée voit le jour en 2000, produite par Madhouse, sous le nom de «Hajime no Ippo : The Fighting!» de 76 épisodes (couvrant les trente premiers volumes de la série).Celle-ci narre les débuts et l’ascension d’un lycéen, Ippo Makunouchi, dans le monde de la boxe professionnelle. Retrouvez dès à présent une sélection des meilleures musiques de l’anime aux accents rocks et jazz avec comme destination finale : Le ring !Trois compositeurs ont œuvré pour cette sélection: Tsuneo IMAHORI (TRIGUN et GUNGRAVE), HidekiTANIUCHI (en collaboration avec Yoshihisa HIRANO sur DEATH NOTE) et Naoya MORI.
Repress de la bande originale du film d'animation Mon Voisin Totoro en version vinyle vert transparent.
Ghibli Jazz - live!With superstar jazz trio All That Jazz, guest vocalist Yuriko Kuwahara (COSMiC HOME) as well as saxophone players and violinists, you must check out these laid-back jazz covers of classic Ghibli songs! Issued on limited edition vinyl with one of our iconic obi strips, this is sure to be another instant classic.SIDE A : 01. Carrying You (Castle in the Sky) / 02. The Path of Wind (My Neighbor Totoro) / 03. My Neighbor Totoro (My Neighbor Totoro) / 04. A Town With an Ocean View (Kiki's Delivery Service) / 05. The Promise Of The World: The Merry-Go-Round Of Life (Howl's Moving Castle)SIDE B : 01. Always With Me (Spirited Away) / 02. The Legend of Ashitaka (The Princess Mononoke) / 03. The Princess Mononoke (The Princess Mononoke) / 04. Nausicaä of the Valley of the Wind (Nausicaä of the Valley of the Wind) / 05. County Road (Whisper of the Heart)
The follow-up to Ghibli Jazz! Ghibli Jazz 1 and 2 took the world by storm, with the stripped down jazz covers of iconic Ghibli songs quickly earning it a place as one of the top Ghibli cover albums of all time. Kaze to Mori no Jazz (Wind and Forest Jazz) sees All That Jazz once again returning to cover 12 of legendary composer Joe Hisaishi’s most iconic songs. Rearranged to be completely instrumental, smooth saxophone tones glide on top of the trio’s impeccable playing. If you’re a fan of Ghibli, or jazz, you absolutely must check this out.SIDE A: 01. Carrying You (Castle in the Sky) / 02. A Town With an Ocean View (Kiki's Delivery Service) / 03. Nausicaä of the Valley of the Wind (Nausicaä of the Valley of the Wind) / 04. Nausicaä Requiem (Nausicaä of the Valley of the Wind) / 05.Legend Of The Wind (Nausicaä of the Valley of the Wind) / 06. The Path of Wind (My Neighbor Totoro)SIDE B: 01. My Neighbor Totoro (My Neighbor Totoro) / 02. The Legend of Ashitaka (The Princess Mononoke) / 03. The Princess Mononoke (The Princess Mononoke) / 04. One Summer's Day (Spirited Away) / 05. County Road (Whisper of the Heart) / 06. The Promise Of The World: The Merry-Go-Round Of Life (Howl's Moving Castle)
You’d be forgiven for not knowing about these Studio Ghibli commissioned jazz reworkings of much-loved classic soundtracks with the three-piece All That Jazz being one of Japan’s best kept secrets until now. Originally put together by the power-house animation studio for a series of jazzed-up covers, the group took off with their simple yet moving set-up of piano, bass and drums, and afterwards went on to do another record of anime classics. Sprinkled with complementary instruments, the project is tied together by the soothing vocals of Yukiko Kuwahara. On this second record, you can find the main theme of Spirited Away, three cuts from My Neighbour Totoro, the theme to the more recently appraised Only Yesterday and carefully curated tracks.

Alek Lee is back on Antinote to release his debut LP ‘You’. Covering 16 songs and crafted in theproducer’s studio over the past few 4 years, the Tel Avivian has swapped the misty aura of his first two EPs for a smoked out haze. ‘You’ effortlessly blends digi-dub, boogie, and yacht rock to create a washed out, dub-pop sound befitting of its place of recording sat at the edge of the desert and the sea. If Lee’s earlier works were defined by brooding downtempo beats with kids television vocal samples sprinkled amongst them, then the album hears the producer open himself up to the process of the singer-songwriter, getting behind the microphone and optimistically speaking words of his own.But perhaps that may be put too bluntly. Fankly, Lee fluidly moves between crooning, whispers, gasps all the way to full on ballad style singing effortlessly and with ease. His newly develop vocal experiments are too supported by an impressive array of collaborators which can be found in the LP’s liner notes. These collaborations also help to mix far-flung musical styles into the LP. For instance, take Kol Hayom featuring Keren Ilan. It’s a laid-back tune that would sit comfortably beside Rita Lee tropicália. Or Love To Puff You Baby featuring $hkuru, which upends Donna Summer’s bodily groove into a heady bop.‘You’ is a testament to Alek Lee’s prolific exploration of his own brand of dub: shimmering off-beat guitars, low-fidelity beats and deep grooves. Oh and always a melodica line found somewhere amongst it.
The starting point of this adventure from the Madrid based label comes with the reissue of the highly demanded Cover Boys’ banger ‘Reality’, an absolute ode to one of human beings most basic instincts. Canadian producer Charles Biddle Jr. is the man behind the Cover Boys project, who arranged, wrote and sang ‘Reality’. Originally released in 1984, this anthem seamlessly captures he 80s essence with an addictive bassline and a pop-infused chorus recalling a summery euphoric atmosphere. One of those tracks that sticks to your mind while having a strong power to move your body. A2, the reggae version of the ‘Reality,’ is a refreshing cover with fantastic arrangements that flips the mood but holds the essence. The B-side contains a remix from one of Australia’s finest producers, Hysteric, that provides brings his magical touch focusing his efforts in turning the original version even more dancefloor friendly, making it a perfect tool for DJs.
Originally released in 1987, « Metropolitan Jungle » by German synth-pop band Cold End is reissued by Swiss label Proxima. Cold End is the second musical project of Katrin A. Kunze, Jürgen Grah and Markus Kammann. Musically, the sound of Cold End was something special back in the time, as a successful fusion of electronic and soul. Dynamic percussions, synth textures and enchanting vocals. Includes an aerial rework by Audrey Danza. All four tracks are freshly remastered!
One of those tracks you simply can't forget - perhaps because it's a hard one to put in any specific genre category - laying somewhere in between the realms of synth pop and italo disco with hints of even new beat, this Austrian diggers delight has been haunting Discogs want-lists for years. Aesthetically smooth and sexy (as it shares chord changes with non other than “Careless Whisper”) but with accents of less orthodox production techniques in the “Wunderbar” mix emphasize a uniquely charming playfulness. Originally released as a 7” single, THANKYOU brings it back to your record collections now in a 12” format with an additional extended cut by Castro for those of you who might have thought the original was just a little too short. Remastered by Man Made Mastering.
After the re-issue of Ghia's “Don't Leave Me Alone” we continue the Austrian collaboration with Ghia's only known album release to date. Originally from 1988, this album features 9 tracks that further deepen the aesthetic direction strongly established by the now digger-delight single released the year before. An album that was somewhat mysterious due to little information online, yet coveted amongst diggers that had already been exposed to the magic of “Don't Leave Me Alone”. From slow dance ballad pop smoothness to high paced quasi-house keyboard and guitar infused playfulness, “Here I Am” has a sound that's unique yet refined, characteristic of an ace studio recording environment. Essential in any well seasoned record collection. Severely remastered.
Bureau B presents the debut album from Saeko Killy.'Morphing Polaroids' est le premier album de Saeko Okuchi alias Saeko Killy pour Bureau B. Après avoir déménagé à Berlin en 2018, Saeko Killy s'est retrouvée dans l'orbe du Club Sameheads, où elle s'est fait connaître en tant que DJ et live interprète. Après avoir sorti son premier EP "Dancing Pikapika" avec le label Chill Mountain d'Osaka en 2021, s'en est suivi une fructueuse Jam session pendant le confinement pandémique, aboutissant aux onze titres rassemblés ici pour l'album 'Morphing Polaroids ' produit par Brussels DJ et selector sofa d'ailleurs. Le LP est un son de club gauche contemporain, combinant sans effort des éléments de dub, post-punk et kraut avec des rythmes électroniques. Grâce aux influences de ses parents, Saeko découvre le jazz et la musique brésilienne. La visite de Techno-Parties à Tokyo a éveillé son intérêt pour les sphères de la musique électronique. Les DJ qui ont joué de la musique de club renégat au grand public ont joué un rôle important à cet égard. Poussée par ces impulsions, Saeko Killy est elle-même devenue DJ. Un contexte qui a montré des expressions artistiques libres et élargi ses horizons, tant politiquement que musicalement.
What would happen if Florian Schneider from Kraftwerk fell in love with Anne Dudley from Art Of Noise? That’s exactly how “A Spanner In The Werk” sounds : a mix of soulful melodies and robotic rhythms, which proves, at last, that Techno and love songs can meet… and have a fruitful relationship!Composed in 1996, this unreleased track by French New Beat veteran Guillaume U. Chifflot received massive positive feedbacks as a bonus track on the recent 2xLP compilation by n9.So here’s a brand new “Longform Mix”, taking android sensuality even further, lovingly pressed by Swewax onto a collector item, with a beautiful floral etching on the flip side by artist Yül-Rik.Mastered by techno and acid superstar Thomas P. Heckmann (Trope, Drax, etc.), the EP also features the participation of cult Rephlex duo D’arcangelo, who offer an exclusive remix, filled with a firework display of the delicate electronic drifts they excel at.n9 is a French label founded in the early 90’s to release new beat and techno-rave tracks. After focusing on graphic design for a decade, groups of Discogs fans brought n9 back into the field, and the label began to pioneer a 21st century blend of New Beat and TBM, while making room for a growing number of like-minded French techno artists.