TITLES OUT THIS WEEK FROM ABOVE BOARD / KRD
Disco / Nu-Disco / Soul
- A. Virtual Lover (Jordan's Nocturne Edit)
- B. Virtual Lover (Jordan's Nocturne Dub)
Originally released in 2013, ‘Virtual Lover’ was the debut single from Nadia Ksaiba, the East London DJ icon best known for her joyous sets at beloved queer space Dalston Superstore.
Fast-forward to 2020, and Ksaiba’s ‘Rhythm Connection’ with Dan Beaumont, is one of NTS Radio’s longest running shows. Meanwhile, as Phantasy approaches a landmark 100 singles, ‘Virtual Lover’ still sounds timeless, masterfully channeling boogie, Italo and disco reminiscent of early Madonna to classic Midnight Star. With this in mind, Phantasy are delighted to offer a new perspective on Ksaiba’s club hit with two spellbinding edits from Belfast born and based DJ/producer, Jordan.
On PH28RMX, Jordan refreshes the energy of ‘Virtual Lover’ with two additions to his already beloved series of Nocturne edits, which have earned multiple represses having gained huge support from the likes of Erol Alkan, Midland, Gerd Janson and Kornel Kovacs.
With an analogue touch, Jordan deftly shifts the casual call of the original into a lean slice of brooding freestyle electro, transforming Ksaiba’s charming vocals into a robotic paen, yearning across a futuristic grid of deeply satisfying bass. ‘Jordan’s Nocturne Dub’ achieves a similar effect driven by a frenetic, chopped-up vocal amid cybernetic flourishes.
- A. Gotta Dance
- B. I Need Your Love
Already building a reputation as an invaluable vinyl only series for lovers of reworkings of prime disco and Italo nuggets, LoveHrtz return with Vol. 3, offering up another brace of indispensable party starters.
‘Gotta Dance’ serves up a blinding version of one of these many classic jams, an Italo disco joint that’s brimming with all those classic tropes of the genre. On the flipside, ‘I Need Your Love’ is another synth heavy disco slammer, revived and injected with new life courtesy of LoveHrtz.
- A1. Weekend (Vocal)
- B2. Weekend (Acapella)
- B1. Weekend (Vocal) (Larry Levan Remix)
- A2. Weekend (Dub)
"Tonight is partytime, it's partytime tonight!"
Fabulous re issue of this disco gem from 1983. Re mastered and re issued for 2014 in conjunction with the rights holders.
Written by James Calloway and Leroy Burgess & produced by Bob & Lola Blank.
Includes the vocal and instrumental plus a Larry Levan Remix and the accapella.
GenresNorthern SoulTrack Listing TBC
After 3 year of Northern Soul mad Brits travelling to the Motor City to attend “Detroit A-Go-Go”, the headline making event comes to Leeds in October and a commemorative 6-track 10 inch LP is being released.
Interest in the Detroit-A-Go-Go 2020 at iconic venue Leeds University is sky high and the LP is guaranteed to grab the attention of a dedicated core audience.
Three of the artists appearing at Leeds - Yvonne Vernee, Ronnie McNeir and Spyder Turner - are featured on the LP.
All 6 tracks are hugely in demand with original copies of the impossible to find Yvonne Vernee and The Tomangoes having £3,500 plus price tags.
The marketing campaign for the 3 day October shindig, which is shaping up as an early sell out, will include promotion for the LP, which will become a must buy on the buoyant vinyl loving Northern Soul scene.
A1. The Tomangoes - I Really Love You
A2. Yvonne Vernee - Just Like You Did Me
A3. The Fabulous Peps - With These Eyes
B1. Spyder Turner - I Can't Make It Anymore
B2. Ronnie McNeir - Isn't She A Pretty Girl
B3. The Fantastic Four - Pin Point It Down
- A. We Three
- B. Listen To My Heartbeat
A powerful 2 sider from the mighty Little Beaver right here! Both sides simply oozing that Florida Funk feeling, outstanding!
Another stone cold authorised repress courtesy of those TK folks, this 1977 jammer opens with the sublime instrumental 'We Three' - some serious Disco flavour, one for the late night action. 'Listen to my heartbeat' is the flipside, another wicked storming dancefloor cut, this time with the main man himself pleading for that special lady to come and find him and make an honest man out of him. Brilliant. They don't make records like this anymore - for real. This one's been repressed with the og CAT label artwork, and it looks great too. An all-round quality reissue of yet another rarity from the world of Funk. Essential.
Released with love and respect by: Above Board and TK Disco, Miami FL. 2020.
- A. Save Me
- B. El Chicken
Yes yes, some ultra rare raw dog Miami Funk Soul R+B for your mind!
A fully legit reissue of this scarce 45 from Jame Knight & The Butlers, superb! Originally released in 1971 on the tiny CAT label, this one's long been the preserve of the deepest Funk collectors, and as such has had a hefty price tag attached. Well, we believe good music should be available to everyone who loves good music! So we got the OK from the main men and women down there in Florida to let us reissue this stunning single. Featuring all original CAT label artwork, and 2 wonderful sides that no music fan can do without. Blink and you'll miss it! Soul brothers testify!
Released with love and respect by: Above Board and TK Disco, Miami FL. 2020.
- A1. Miami - Chicken Yellow
- A2. The Sunshine Band - Black Water Gold
- A3. Freedom - Get Up And Dance
- B1. Joe Thomas - Polarizer
- B2. Herman Kelly & Life - Dance To The Drummer's Beat
- C1. T-Connection - Groove To Get Down
- C2. George McCrae - I Get Lifted
- C3. Queen Samantha - Take A Chance
- D1. Ralph MacDonald - Jam On The Groove
- D2. Blowfly - Rapp Dirty
Presenting a collection of stone-cold classic breakbeats and b-boy jams from the sunkissed vaults of Miami's legendary TK Disco label!
NYC in the late 70's and early 80's saw a nascent street subculture fully evolve, a movement with it's own language, art, aesthetics, dances, fashion and way of living.
What would become what is now globally known as 'hip-hop' was in its infancy, with it's own legends and history being forged on an almost daily basis across the city's Black and Hispanic neighbourhoods. Music was central to hip-hop, the DJ was king and at the hands of people like Kool Herc, Grandmaster Flash, Grandmaster Flowers, Mean Gene, Jazzy Jay, Afrika Bambaataa, Charlie Chase and numerous other groundbreaking DJ's of the era, music took on a whole new meaning that would reverberate through popular culture for the rest of time.
The breaks - minute sections or breakdowns of a record where we get to the unadulterated groove and the band on the record cut loose - is what it was all about! Unlike the discotheque DJ's who favoured the long mixes and blends in their club scenarios, hip-hop DJ's were amassing huge collections of records that had these magical sections on them, often x 2 copies of each, so that they could elongate the best part of the record ad infinitum by cutting them up live - all killer no filler! These special on the fly mixes and edits were then unleashed in the local parks of their neighbourhoods, on gargantuan DIY sound systems for all of their friends and neighbours to party on down until the wee small hours. These breakbeat segments also gave the MC's space to address the gathered masses without their voices colliding with lavish string arrangements or vocals underneath. A clear, concise, stripped back slab of funk on which to put forth their ideas, feelings and rhymes for all to enjoy.
Collected here are some of those most infamous breakbeats, all from the TK vaults. These records were studied by these young DJ's, coveted, covered up, hunted down, whispered about in darkened corners by those who needed and obsessed over the freshest of beats. There's a good chance you will have heard these records in some form or another as they have been covered, sampled, recreated and spun in clubs across the galaxy for over 4 decades. These are the very building blocks upon which popular culture and club music have been built, and here they are all in one place for your listening enjoyment!
Released with love and respect by: Above Board and TK Disco, Miami FL. 2020.
- A1 Cramp Your Style
- B1 Watcha Gonna Do About It
"Cramp Your Style" by All The People surely belongs among the canon of all time funk standards, sampled aplenty over the years, included on numerous compilations as well as being the recipient of cover versions from Breakestra and Killer Meters. Originally issued on the Blue Candle label back in 1972, a newly remastered edition of that 7" is now available for any funkateers out there without the 45 in their collections already. Robert Moore's yearning vocal sounds all the better for it too! And don't sleep on the bluesy delights of B side track "Watcha Gonna Do About It?".
Official re issue.
- A Woman Of The Ghetto
- B Woman of The Ghetto
Killer 1975 Gospel version of Marlena Shaw's 1969 sister Soul standard, a deep, socially conscious 45 asking some heavy questions about ghetto life set against a beautifully arranged, string heavy backdrop of low slung Funk. A truly sought after rare groove, produced by the UK's John Abbey, the man who set up the legendary "Blues & Soul" magazine as well as the Contempo, Mojo and Ichiban labels who worked with countless Soul and Funk artists throughout his lengthly career. Quite tough to track down on 45, "Woman Of The Ghetto" is now available again, dug out from the mighty SAM Records catalogue, the first release in their impressive discography now made available again on dinked 45 as it was presented in 1975, legitimately licensed, remastered and reissued in conjunction with SAM Records New York City.
Höga Nord Rekords Singles Collection
GenresAlternative RockAmbientElectroExperimentalNu DiscoTechno
- Pardon Moi - Power To The People
- Pardon Moi - Touch 2 Much
- Max Von Sydow - Insecto
- Max Von Sydow - Cardboard Pope
- Dungeon Acid - Dog Acid
- Dungeon Acid - Sex Beat
- Västlänken - Moebel
- Västlänken - Autobaba
- Druk 11000 - Zamboling
- Druk 11000 - Sibsoo Bazaar
- Ultra Satan - Freedom Rock
- Ultra Satan - Anti-Clock
- Golden Bug - Viaje A Tenderloin
- Golden Bug - Hitodoma
- Osynlige Mann - Airports
- Osynlige Mann - Exodus
- The iDEALIST - Inner Space Dub
- The iDEALIST - The Fire Of Moses (feat. Genesis Breyer P-Orridge)
- Al Lover - Dark Matter Discothèque
- Al Lover - Mark E. Moon
The Mothership has come! It has arrived in the form of the strictly limited collection box “Upwards at 33 1/3 Degrees” (50 copies), containing all singles released on the label between 2017 and 2020. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!
The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Pardon Moi’s 80’s varnish sports car-electro and DRUK 11000’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.
“Upwards at 33 1/3 Degrees” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!
House / Tech-House
GenresBreakbeatDeep HouseTech House
- A1. Bushwacka! - Ambient Dub
- A2. Two Full Minds - Acoustic Dustbin
- B1. Mashupheadz - Blue Skies
- B2. Bushwacka! - Oh So Good
- C1. Tokamak - Set Up (Bushwacka! Remix)
- C2. Layo & Bushwacka! - Kipping
- D1. Bushwacka! - Herbal
- D2. Bushwacka! - So Lonely
A stunning collection from the vaults of one of London's true maverick electronic producers - Matthew 'Bushwacka!' B.
Across 2 volumes we are treated to the deepest selections, rarities, remixes and collaborations from the Bushwacka! studio covering almost a decades worth of music and projects. Sonically traversing styles, vibes and genres 'Listen Up Vol. 01' shares a glimpse into the varied Bushwacka! sound world, a wealth of ambient melodies, techno, breaks, deep house and tech-house all rooted firmly in his unique production and engineering flavour. A history spent in the mists of underground UK rave culture and a career full of high profile residencies, global DJ-ing and endless studio sessions has enabled Matthew B to truly hone his musical voice and his ear to create a 'sound', it is this sound that we present to you here in all its glory.
Featuring a broad selection of music taken from the cult Plank and Oblong labels and more, choice remixes and tracks from longtime friends and collaborators including Asad Rivzi, Layo Paskin and Dez Ingram, 'Listen Up!' is an essential collection for lovers of underground electronics of every style. All tracks featured have been transferred from the extensive Bushwacka! DAT archive and remastered with love by Lawrie Curvepusher. All artwork and design handled by the Atelier Superplus studio. Manufacture and worldwide distribution by Above Board Projects, 2020.
GenresDeep HouseUK Garage
- A. Bumped in NY
- B. NinetyFive
Every odd number has an ‘E’ in it…
GenresDeep HouseTech House
- A1. Just Partying
- A2. Talking Plants
- B1. We Want To
- B2. Off To The Stadium
Fabe makes his highly anticipated debut on FUSE this August as he unveils his four-track vinyl sampler from his sophomore album, ‘Four Point Island’.
A key figure within Mannheim’s blossoming scene and a core member of the city’s well-respected BE9 collective, DJ, producer and label boss Fabe has quickly forged his position as an artist of note within the house and minimal landscape. Featuring as a regular for both Cocoon and FUSE/Infuse across their worldwide events and labels, whilst also launching his own imprint Salty Nuts, the multi-faceted talent has carved out a trademark sound palette combining groove-heavy bassline with elements of classic house, forceful techno, forming a unique, high-energy style which is now instantly recognisable as his own across the scene today. Following on from the release of his
debut album ‘Water Tower’ in 2019, late-summer welcomes the release of his second long-player project as he debuts on FUSE to deliver ‘Four Point Island’ – becoming only the second artist to release an album on the label after founder Enzo Siragusa.
GenresDeep HouseTech House
- A1. Dub Riddem
- B1. Puff Puff
- B2. How Lucky Should We Feel?
A regular of Australia’s thriving musical circuit, Kane Dignum aka Little Fritter makes his debut on Hot Creations with Dub Riddem. The EP continues an impressive 2020, that has seen the Gold Coast native’s standout productions land on the likes of Desert Hearts and etcetc already this year.
Those aforementioned features are present right from the offset, as Dub Riddem leads proceedings. A reverberating vocal keeps us hooked, before hard-hitting drums combine with a shimmering cow-bell lead to form a real dancefloor weapon. Puff Puff comes next, with prominent kicks giving way to a chuggy, up-and-down bassline, whilst lyrical samples echo in the background to create a choppy, groove-lead atmosphere. How Lucky Should We Feel? rounds things off in a similarly club-ready vein, merging resonant vocal cuts with punchy drum patterns and bringing shimmering hi-hats in tow.
Little Fritter has been a regular on the electronic music circuit for more than a decade. Having had his first release back in 2008, few artists have stayed as relevant and cutting-edge as the Gold Coast mainstay. Performances at Berlin’s Club De Visionaire and Barcelona’s Off-Sonar cemented his reputation as a respected prospect in the scene.
- A1. Closer feat. Carol Sylvan (King Street Moody Club Mix)
- A2. Closer feat. Carol Sylvan (Swing II Mood Dub)
- B1.Closer Dub
- B2. Closer (Swing To Mood Dub)
Mood II Swing classic from 94... Often imitated never bettered.
Contains the epic Mood II Swing dub - one of their best Dub's of all time plus all the original mixes.
If you don't own a copy of this now if your chance to have this benchmark in house music's history.
Beautifully re mastered and repressed for 2015 in conjunction with King Street Sounds.
GenresDeep HouseTech House
- A. Field Day
- B. Off Planet
Feel My Bicep steps it onto its next release with the debut of two established acts, linking up for the first time. DeFeKT and Extrawelt combine their formidable talent and years in the game to bring us a two-tracker entitled Field Day.
DeFeKT (AKA Matthew Flanaghan) has been putting out his hardware-heavy productions for 10 years now, dropping releases on an array of respected labels including Omnidisc, Boysnoize, Acid Avengers, Komisch and Convex. Known for his high quality production and ability to create havoc on the dance floor, he previously appeared on Feel My Bicep with a rework of Cromby’s Retribution.
Meanwhile, German duo Extrawelt have production credits dating back almost 20 years with their first tracks released in 2001 under the alias Midi Miliz. The Extrawelt moniker was adopted in 2005 and they’ve been producing and performing under the name ever since, with an exhaustive list of club and festivals appearances plus an extensive catalogue of releases, including four albums.
From Bicep themselves "We've always been massive fans of Extrawelt, fondly remembering Soopertrack being hammered by Sven back in the mid 2000s. Matthew, who we're good pals with told us he'd been jamming with them and sent over the demos. Signed it pretty much there and then! Don't think we need to explain much more, both absolute weapons that capture that era of our early clubbing memories perfectly.”
- A1. Wake Da F___ Up Mix
- A2. Wild Pitch mix
- B1. Hard Head Mix
- B2. London Radio Edit
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.
GenresDeep HouseDiscoSoulful House
- A1. Cerca De Mi (Kenny Dope Remix) Featuring Raul Midon
- A2. Sunshine (Sacred Rhythm Mix) Featuring Josh Milan & Raul Midon
- B1. Ma Mi Mama (Freeform U Heirs Vox Mix) Elements Of Life Feat. Anane
- B2. Jungle Fever (ATOJ Remix) Featuring Anané
- C. Let The Children Play Featuring Raul Midon
- D1. Thousand Fingered Man
- D2. Journey's Prelude (NuLife Remix) Featuring Ursula Rucker
Vega Records are proud to present the re-release of EOL Extensions by Elements Of Life, the second album from Louie Vega’s critically acclaimed live orchestral project. With an allstar cast of remixers the lineup is a who’s who of worldwide talent. On the repertoire are Jazzy Jeff, Kenny Dope, Dj Spinna, Joe Claussell, House of Rumba, & Dj Gregory, along with EOL Alumni lead vocalists Josh Milan, Anané & Raul Midon. The Vinyl release is in two parts, two double packs, get it on your turntable, close your eyes and listen to the cosmic sounds of EOL. The new tracks “Messin’ About”, “Our People”, and the unreleased mix of “Love Is On The Way” are ones not to be missed.
- A. Save Me
- B. Way Ur Touchin Me
Stay On Sight Recordings, the signature label from Skin On Skin, announce their first single release with ‘Save Me’ on 12” vinyl and digital streaming. Slowing down the pace of his previous heavy-hitters for two sweetheart dance tracks that have been favourites of nearly every S.O.S set over the past two years, the title track was the first ever made under the Skin On Skin moniker while the B side, ‘Way Ur Touchin Me’ is a perfectly paired swooner dug out of the archives.
- A1. Mass Digital - Lonely Souls
- A2. Double Touch - Circles
- B1. David Orin - Un Autre Monde
- B2. Makebo - Just A Dream
- C1. Amand - Everlast
- C2. Squire, Dead-Tones - Pretty Little Lies
- D1. Death on the Balcony - The Source
- D2. Flowers On Monday - Don’t Give Up
- E1. Rowee, Lazarusman - Brightness
- E2. Nebula (AR) - Once Upon A Time
- F1. Madraas - Hope
- F2. DSF - Paparouna
ADID's Summer Sampler has become a joy to compile each year. Newer names and more familiar ones bring different ranges of musical emotion to our little corner of the dance music universe. Daytime dance floor bombs from Double Touch, Amand and Madraas sit alongside the more cerebral and subtle grooves from artists like Mass Digital and Death on the Balcony. We love all the tracks on here and each and every one has been heard on All Day I Dream dancefloors (yes, dancefloors...remember those!) the past year. We hope you love them as much as we do.
- A. Not About You (Extended Mix)
- B1. Not About You (KDA 'Legacy' Extended Remix)
- B2. Not About You (KDA 'Did I Ask' Dub)
Honey Dijon makes a triumphant return to Classic Music Company with ‘Not About You’ from her forthcoming album ‘Black Girl Magic’. Now available on special edition grey 12” vinyl, Honey teams up with emerging Atlanta talent, singer/songwriter Hadiya George on this aptly timed ode to our human ability to be selfless. The A-Side features the original mix, illustrating Honey’s dedication to absorbing, living and breathing dance music’s origins, while exploring a new sound that offsets the darker, tougher elements of her catalogue. As Hadiya’s confounded vocal narrates, “why you always got to play the fool, that’s why I wrote this song for you,” the flawless production forms the backdrop, weaving deep grooves and rhythms with fluttering, melodic keys and Honey’s signature dancefloor-ready flare. On the flip, London-based producer and DJ KDA delivers his ‘Legacy’ Remix, with energetic keys and a jacked-up bassline giving a club-ready feel. This 12” package also features his ‘Did I Ask’ Dub, a gloriously stripped-back mix destined for the dancefloor dancefloor. Demonstrating his intriguing style, KDA’s two mixes demonstrate his ability to keep you guessing, throwing in a few funk-fuelled curve balls to keep dancers on their toes. Steeped in the sounds of the Chicago nightclubs Honey grew up in, this empowered, glossy EP is an inspired preview of what is to come on this anticipated album.
GenresDeep HouseNew YorkReissue
- A Equinox (Heavenly Club Mix)
- B1 Equinox (Total Eclipse of the Dub)
- B2 Equinox (The Original Concept)
Code 718 aka iconic NYC DJ Danny Tenaglia dropped this 'E2-E4' riffing classic back in the mists of 1992. Manuel Göttsching's original track would have been a staple of NYC clubs back then and would have featured in the warm up sets of jocks like Tenaglia who favoured the longer, deeper sets as well as on the play-lists of institutional night-spots such as the Loft and the Garage. The track's influence on a whole era of DJ's and producers that followed is immeasurable and across 3 sublime mixes Tenaglia distills the magic of the original into something totally NYC and club-friendly without losing any of the Göttsching magic, even managing to sprinkle a little Grace Jones in the mix with her fabulous 'I floated on a cloud' vocal sample liberally applied. 'Equinox' takes us on a trip that is emotive, uplifting and warm. This is how House music is meant to sound, respectfully steeped in what preceded it yet moving forward in a fresh direction. Another example of how on the money Strictly Rhythm were in their early days, classic after classic rolled out of the labels' offices and us, the record buying legions, were / are better off for it! This one's a tasty 2017 reissue and remaster, featuring all 3 mixes, unedited, as per the original release way back when. Do not sleep.
Techno / Electro
- A1. True Love
- B1. Want Me
- B2. Safari
UNCAGE label owner Marco Faraone is back on Rekids with three massive soulful cuts entitled ‘True Love EP’.
Hailing from Tuscany, Faraone has risen to become one of Italy’s leading house and techno artists over the last fifteen years. When not performing at the likes of Awakenings, Caprices, Tomorrowland and Kappa FuturFestival, the producer has released on leading labels like Ovum, Drumcode and Be As One. Since debuting on Rekids two years ago he’s become a notable fixture on the Berlin-based
imprint, dropping numerous releases including his sophomore album, and he returns again now in fine form.
Opening the release in a big way, ‘True Love’ is built on galloping kicks, rattling shakers and a murky bass throb whilst a distorted vocal sing the track title. A cacophony of percussion then joins deep synths in ‘Want Me’ before introducing a powerful diva vox, leading into ‘Safari’ with its bubbling effects, piercing stabs and swinging hats.
- A1. Seaside
- A2. Who Do Ya Truss
- B1. Rob The Store
- B2. Beat Control
Back with another 4 hits of Viers! Steel City Dance Discs Volume 18 sees the Leedsbased heavyweight return to the scene of the crime, breaking and entering with a thumping techno/electro jaunt.
Sharper than ever, Viers reaches into the vault and grabs his famed retroactive synth strikes, second-to-none vox jewels and metallic modular distorts.
All killer, no filler.
Muting The Noise (UK & USA only)
GenresDeep HouseNu Disco
- A1. Glances
- A2. Enough!
- A3. Fade Out
- B1. Poeme
- B2. Enough! (The Juan Maclean Remix)
The New World is upon us once again. It has been seven years already, since Markus Gebauer debuted on Riotvan under the guise of his New World moniker, but times are calling for a New World more than ever. And that's both, very generally speaking and particularly regarding his slick and classy approach to Neo-Disco-affairs.
- A1. 1001 Nights
- A2. Learning To Fly
- B1. Once And Forever
- B2. Long Time Running
Alfa Romero’s combination of hardware synthesizers and modular systems creates a powerful and organic sound which translates to a unique aural feeling.
- A1. Horizon
- A2. Lucent
- B1. Momentum
- B2. Beyond Dreaming
After being featured on the latest "Realm Of Consciousness" installment as well as the all encompassing "Unity"-project - Coeus releases his first solo offering on Afterlife titled "Beyond Dreaming".
- A1. Virtuality
- A2. Belfast Sun
- B1. Portamento
- B2. Ms20101
Fresh from the silky deepness of “Back to Mine”, his standout contribution to the compilation Dixon Presents Transmoderna, Echonomist now steps to the fore with his debut EP, Virtuality.
- A1. Heimreise
- A2. Heimreise (Adriatique Remix)
- B1. Random Dub Fix
This record took a while to be finished but we're glad to finally release this beautiful EP from Matthew. The title track ‚Heimreise‘ has already been around a few years ago but never got to be released officially due to the vocal sample. After speaking to Matthew he sent us the track and we used it in our Cercle set last year which gave the track a second life and lots of people were asking for an official release. After lengthy negotiations the sample could be cleared and licensed and we finally finished the EP. We worked on a remix for ‚Heimreise' what turned out to be quite a challenge but after all we could wrap it up right before deadline and the whole record was ultimately done and set to release.
These two originals need no big introduction or explanation. ‚Heimreise' and 'Random Dub Fix' are wonderful displays of Matthews Dekay’s ability to create such hypnotic grooves that almost put you in a state of meditation. We still have so much fun playing these out that we really think this is a timeless piece of music. Thank you all for the patience, we’re happy that ‚Heimreise' found its forever home with Siamese.
Adrian & Adrian
GenresDeep HouseDown Tempo
- A1. There Went Gingo
- A2. Ecco
- A3. Bang Solo
- B1. Bang Loose
- B2. The Canary Inukh
- B3. Sant Uwayo
- B4. Yenkl
- B5. There Went Gingo - Reprise
- A1. The Canary Inukh (Dixon & Trikk Rework) (Club Version)
- B1. Yenkl (Trikk Sol Remix) (7" Edit)
This limited edition bundle of Keope's 'Triangulo' contains the original LP as well as a 7" with versions from Trikk and Dixon that have only been released digitally before. The versions will be available exclusively on the 7" and it will not be available separately.
- A1. Lovefingers - Intro
- A2. The Chequers - Theme One
- A3. Lifetones - Good Side
- A4. Rick Cuevas - The Birds
- A5. Data - Data Plata
- A6. Hotlegs - Today
- B1. Jo Squillo Eletrix - Avventurieri (Dance Mix)
- B2. Captain Mustard - Quiet Move
- B3. D.E. - Full Moon (Lovefingers Edit)
- C1. Nuno Canavarro - Blu Terra
- C2. Electronic System - Skylab
- D1. Eddie Callahan - Santa Cruz Mountains
- D2. Dave Brock - Spirits
- D3. Florian Poser - Winds
In 2006, the musical landscape was very different; there was no streaming, “shazam" was a word used by magicians, and "all-access” was not granted to the general public. Social media, as we know it, was in its infancy and today’s constant digital feed of interruptions, notifications, refreshes and “likes” didn't yet exist. Those with a thirst for the overlooked regions of the record store had to quench themselves in the climes of the online world's music blogs, and while that digital community was surely expanding, NYC’s www.lovefingers.org was something different. Not a blog but a daily unfolding mix — no opinions, reviews, or backstories were coupled with the music, no full albums or submissions from the outside — it was a mysterious watering hole in the burgeoning digital desert where rogue tracks from Wally Badarou rubbed shoulders with those of Holger Czukay, the drama of Sylvester juxtaposed with the quirkiness of Hosono, and countless other coveted artists’ unearthed gems melted in one pot, a digital space where $1 thrift store scores could easily breathe the same dusty air as cosmic holy grails, oddball psychedelics and proto-electronica b-sides comfortably cohabited with $300 private-press folk rarities. With 1 track per day, Andrew “Lovefingers” Hogge created a truly democratic and educated selection of music for our aural pleasure, and labelled them ‘Fingertracks' (numbered 001-999).
This was before most things we now take for granted were common on our dancefloors, radio shows or live streams. Those ubiquitous Euro Pop dubs, unclassics that aficionados play at the wrong speed, or private gems that have since been reissued to the moon and back? They very probably popped up on our collective radars via the medium of www.lovefingers.org first. Rightfully so, what started as a well-kept secret, became a go-to resource and mark of quality among enthusiasts, diggers, DJs, musicians and producers around the globe — the genre-bending mentality in turn re-coined the term “selector” — and inspired a generation the world over to delve further into record shelves, undoubtably contributing hugely to the wondrous, multi-faceted and open-minded musical language we now all speak fluently. While it remained niche, at its peak, www.lovefingers.org had upwards of 100K music freaks turning up daily, and ignited a global musical dialogue between people that were yet to be connected by today’s social technology. The site received countless letters of appreciation from rural kids with no access to record stores, acclaimed DJs, film directors, fashion houses, forgotten artists who were thrilled to feature among unexpected peers, soldiers who diligently tuned-in direct from their call of duty, even heroes of sample-scavenging culture like Coldcut who applauded, “…it just goes to show, when you think you’ve heard it all, you can always dig deeper.” The community around Lovefingers’ site was a call-to-action, gathering analogous minds and inviting them all to the same party, and on New Years Day 2010, after 999 Fingertracks and a plethora of (now classic) mixes, the site made a final post stating, “That's all folks!” The collective energy pivoted into the ESP Institute, a record label and art platform to champion new artists who emerged from this foundational community and as a catalyst to push the musical dialogue forward. Now, as the ESP Institute approaches its 10-year anniversary, we revisit the significant role www.lovefingers.org played in shaping where we are today.
'Fingertracks Vol : 1' is a snapshot of aural delights that were on offer to those of the leftfield persuasion, all who discovered the site and tuned-in for their daily shot of sonics proper — a lovingly selected handful of records that re-introduce the story of Andrew’s most influential and essential music resource. The track list is classic Lovefingers, an insight into the free-flowing nature of the daily Fingertracks, context-free but connected through creative threads and energies — lo-fi loner jams brush up alongside sleazed-out Italo powerhouses, Greek new age obscurities tussle against overlooked Hawkwind-related cuts — nuggets that may be more known to the heads now, but whose initial excavation can be accredited to Lovefingers’ site, and are essential to its story nonetheless. Rumor has it that this is merely the first volume in a series, so as it turns out, and gladly so, “That’s not all folks!”
- A Nights Over Egypt
- B Love Dont Ever Say Goodbye
Detroit sisters The Jones Girls were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's.
They cut numerous sides for the label aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine.
'Night over Egypt' is surely one of their most enduring, evergreen tracks. As popular today with people as it was on it's 1981 release.
A record that truly transcended genre boundaries and touched people from all walks of life and of all taste persuasions, it is a true soul classic. Often imitated yet never bettered! It's no wonder the 12" has always been sought after, sometimes commanding collectors prices on the used vinyl marketplace. The flipside 'Love don't ever say goodbye' is a sultry, Dexter Wansell produced slow-jam that ticks all the right boxes! One for the lovers out there, pure quiet storm business.
This is a fully legit reissue, made in conjunction with Above Board distribution and Sony music, sourced from their vaults using original source material and remastered and repressed to the highest standard for 2018 and featuring all original 1981 PIR label artwork.
Here's your chance to own yet another essential stone cold classic from the archives!
- A Uganda
- B Uriah
Limited information on this release, it contains two super edits that have been heavily road tested on a certain soundsytem that is currently doing the rounds. Not much information beyond that but the music speaks for itself. Slow mo with impact and energy. More soon.
GenresDeep HouseDiscoNew YorkNu DiscoSoulful House
- A1 Give Me A Minute
- A2 Give Me A Minute (Accapella)
- B1 Give Me A Minute (Dubbed Out Version)
- B2 Give Me A Minute (Bonus Beats)
A creative partnership between Tom Laroye and Yam Who?, Qwestlife is a trans-continental boogie trip between the two producers’ respective homelands of Paris and London. Fulfilling the Glitterbox philosophy by crafting great songs the old school way with analogue and weird electronic gadgetry, Qwestlife’s ‘Give Me A Minute’ appeared first on Glitterbox’s Disco Revenge compilation and now graces vinyl for disco connoisseurs everywhere. Featuring the vocals of a frequent Yam Who? collaborator, soul diva Jacqui George, ‘Give Me A Minute’ is an instant party anthem. Disco-fuelled synths and strings plus live sax, trumpet, guitars and bass give a glorious saturated dancefloor vibe rolled into one by sticky hooks and a timeless catchy chorus. Accompanied by the Dubbed Out Version, plus an Accapella and Bonus Beats, this sweet vinyl release provides all the good stuff that Qwestlife have to offer.
GenresDeep HouseNu Disco
- A1. The Spirit (Extended Mix)
- A2. The Spirit (Yuksek Extended Remix)
- B1. The Spirit (Mark Broom's Let's Talk Extended Remix)
- B2. The Spirit (Mark Broom's Club Rub Extended Remix)
When Simon Dunmore heard Horse Meat Disco drop ‘The Spirit’ at Glitterbox in Ibiza last summer he immediately needed to know where and who the track came from. It’s no surprise that Mighty Mouse’s style of production was a good match for Glitterbox, with his reputation of delivering high energy, eclectic, disco infused sets. The track went on to become Annie Mac’s Hottest Record and has been on heavy rotation among all discerning disco DJs. Now this rugged party starter has its long-awaited vinyl release, with an exclusive remix from Partyfine boss and French maestro Yuksek keeping it company on the A-side. On the B-side are two huge remixes from UK techno titan Mark Broom, bringing new depth to the disco original.
GenresDeep HouseSoulful House
- A1. I'm Not Defeated (12" Mix)
- A2. I'm Not Defeated (12" Instrumental)
- A3. I'm Not Defeated (12" Accapella)
- B1. I'm Not Defeated, Pt. II (Honey Dijon's Fiercely Furious Dub)
- B2. I'm Not Defeated, Pt. II (Honey Dijon's Fiercely Furious Dubstrumental)
If Fiorious’ debut single is a pounding fistful of defiant house, Honey Dijon gives ‘I’m Not Defeated Pt. II’ a snapping elasticated rework with her ‘Fiercely Furious Dub’ on this vinyl release. More than just a remix, Honey has recreated a classic Paradise Garage vibe by drafting musicians to re-record the track, with a fresh Fiorious vocal laid on top. A powerful call-to-resistance club anthem, ‘I’m Not Defeated’ is the debut Glitterbox single from Fiorious, now available on 12” along with instrumental and accapella versions, as well as ‘Honey Dijon’s Fiercely Furious Dub’ and ‘Honey Dijon’s Fiercely Furious Dubstrumental’.
GenresAlternative RockAmbientDown Tempo
- A1. Denton, Texas
- A2. Fossil, Oregon
- A3. Tuscon, Arizona
- A4. Livermore, California
- B1. Astoria, Oregon
- B2. Roslyn, Washington
- B3. Idaho Falls, Idaho
- B4. Paradise, California
In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept oﬀ my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond ﬂed to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diﬀuse life’s complications, a place to get lost. –Loveﬁngers
- A. Bar A Thym
- B. Sunshine & Twilight
Original sales notes: Kerri Chandler is back on King Street and OH DIP!, did he bring us some gems this time around! Already making huge waves before its release, this is funky-ass Chicago house that bumps the bottom while distorted synth stabs slam the top. Figure acid house...without the acid! Peak hour fun times with the twisted standout track, Bar A Thym. On the flip side sits the more soulful Sunshine & Twilight. A beautiful & traditional mover that fits in a groove which Kerri is best known for.
- A Levitating (The Blessed Madonna Remix) feat. Madonna and Missy Elliott
The Blessed Madonna has remixed Dua Lipa’s ‘Levitating’ featuring Missy Elliott and Madonna.
This is the first track from ‘Club Future Nostalgia’, an entirely remixed version of Dua Lipa's global #1 album “Future Nostalgia”, created in collaboration with The Blessed Madonna.
A Dua Lipa - Levitating (The Blessed Madonna Remix) feat. Madonna and Missy Elliott - We Still Believe
Did you miss these?
- A1. Shanti Celeste & Saoirse - Solid Maass
- A2. Persian - Morning Sun feat. Hannah Small
- A3. Seekers International – FurdaMurda
- B1. E.B.E. – Thinking
- B2. Gideon Jackson - Taj-Mahal
- C1. Perpetual – Awakenings
- C2. Mark Seven – Crank
- C3. Paco Pack - Slap That Bass
- D1. Cari Lekebusch - Output 2
- D2. Pauline Anna Strom - In Flight Suspension
Shanti Celeste is a vibe. She’s got that magic lightness of touch even when things are getting Jacques Cousteau deep or panel beating heavy. This makes her the perfect candidate for the Sound of Love International 3, channelling the spirit of both those after-hours sessions and the more frivolous daytime boat parties. This is serious music for serious music heads but, after all, everyone is still on holiday. It’s linear and cohesive but plays with the emotions -carnivalesque fun, psychedelic flow-states, heads-down rhythm trax, playful skipping garage, and more abstract moments. Deep joy to deep space and back, often in the space of 3 or 4 well-selected records.
There’s a deep musical and personal connection to the festival - as she says of her first time playing at the Beach Bar, “there’s a heavy Bristol crew there and it all feels easy and nice. It was just good
vibes all round”. And she does make it sound easy too, which belies a DJ with some very serious skills and an ear for a killer tune that others might well overlook. And it’s this that makes the 3rd instalment of the Sound of Love International such a joy - a welcome panacea to all of us suffering from the Croatian blues this year.
To which end, we get a cheeky exclusive collaboration between Shanti and her sister-in-arms Saoirse in the shape of ‘Solid Mass’. Persian’s uniquely British paean to the post-rave Sunrise ‘Morning Sun’, cavernous dub runnings outta the Bokeh camp from Seekers International. These are the lift- off tunes, setting the mind-state for the journey ahead.
Things tighten up with cult underground hero Lucas Rodenbush under his E.B.E alias giving us the taught, grooving, dubby tech-house and Gideon Jackson’s ‘Taj Mahal’, crisp, spatial, mystical and criminally slept-on. We go deeper into the night with Perpetual’s Awakenings’, one of those records that is so much more than the sum of its parts. And who knew that Mark Seven was such a dab hand with the dank machine funk? Check 1998’s ‘Crank’ for the skinny. By the time Paco Pack’s rubberised ghetto house reimagining bounces into play it’s GAME OVER.
The final side leaves us with the soft landing - Cari Lekebusch ‘Output 2’ is both pacey and drifting and Pauline Anna Strom’s ‘In-Flight Suspension’ does what it says, whips away the drums and leaves us floating in space. Will we ever touch down?
To overuse a phrase, this compilation arrives in strange times but is a glorious reminder of what brought us all together and will again. The music and dancing under the stars. See you in 2021.
GenresJazzTrack Listing TBC
The following text is an essay on Duval Timothy and the album Help, by our friend Josh Kun.
What are pure art aims?
That music is primarily a combination of tones
Painting a combination of colors
Dancing a combination of movements.
Let us say this in artistic terms: we want more.
Dynamic and static
Weight and qualities
Rhythm and balance
and so on.
This is not piano. This is dreaming. It’s dreaming.
- Duke Ellington
The last time Duval Timothy released an album of songs, on 2018’s 2 Sim, he was surrounded by voices.
They were intimate and eloquent and everywhere. Sourced from personal voice notes and field recordings that he pulled from his WhatsApp and captured with his digital audio recorder, they belonged to friends and family in Sierra Leone where Timothy’s father migrated from and where Timothy, born and raised in South London, has been returning to— making films, making music, painting, and learning to weave. They talked of passports, rainstorms, and beaches, and ruminate— over acoustic piano, layered electronics, and the occasional avalanche of beats— on being West African in London and being Afro-British in West Africa, on living a life with two SIM cards, a diaspora life of proximity and distance and family mirrors that don’t always reflect neatly back. On Help, the voices are fewer and more inscrutable. They are usually allowed only a word or a phrase. They are clipped and panned, time-stretched, and pitched up and down. They are treated like discrete units of matter, strategically drawn in and let go. There are only two voices that are given full sentences.
The first, which comes after Ibiye Camp’s sampled utterance of the word “slave” is twisted into a series of melodic looped knots, is a YouTube audio rip of Pharrell Williams critiquing record companies who play Master and force musicians into the role of contractually enchained property. The second belongs to the late painter Ellsworth Kelly. After a minute of sparse solo piano on “Look,”
Timothy plays a recording:
I don’t like decoration—it’s like bad painting. Because, to me, a painting really has to really mean something. To me, I mean. It’s hard to say what it means except what you feel and what you can do with it by looking and investigating. I think Diane Arbus said, “If you investigate enough, everything becomes abstract,” and I like that, so I use it.
And then after another minute of piano, effects, and the distant honk of car horns, more Kelly:
I remember coming down the stairs and seeing this yellow pound of butter, I went to it and stepped on it... and stepped on it and it was all flat. I don’t like bulk. Thickness. Three dimensions. My paintings havev always been planar. And so my mother came out and said, “Look what you’ve done... you’ve made art!
The statements of Williams and Kelly are among the few transparent pillars holding up Help’s otherwise opaque and shimmering sky. Timothy’s compositions grapple with historical legacies of enslavement and ownership across the maps of Black music. They also, simultaneously, pursue an intensive aesthetic investigation that borrows from visual traditions of abstract art, conceptualism, and the deep resonant flatness of color field painting (influences that have all left their mark on Timothy’s films, paintings, and textile work as well.) In addition to a figure like Kelly, Help also further connects Timothy’s work to that of the U.S. artist Jennie C. Jones, whose paintings and sound objects—and whose own theory of “listening as a conceptual practice”— urges a reconsideration of abstract art as a form of Black avant-gardism (and vice-versa).
If 2 Sim and 2017’s Sen Am bent abstraction toward audio documentary, Help bends back toward the edges of non-referentiality. The achievement of the album—which is anchored in the warmth and delicacy of Timothy’s ever-present acoustic piano— is that so few elements are asked to add up to anything fixed or easily digestible. Timothy allows them to bubble and linger and then dissipate into the air without leaving a trace. Carefully laced with blurred keys, anonymous whoops, far-away clangs, and slick guitar flutters, the songs abide by invisible geometries. As he does in his textile work, Timothy carries colors (a version of the name his clothing line once carried) across these minimalist sonic sketches that blur the edges of tone and hue. He called his 2016 album Brown Loop, but the loops on Help listen across palettes, gradations, and intensities.
In his landmark study, Interaction of Color, Josef Albers famously wrote that the longer you look at a color the more you can see its “after-images.” Timothy makes music that if you listen closely enough, long enough, you can hear something like “after-sounds.” These are not the “ghost notes” between beats that Timothy sampled legendary drummer Bernard Purdue talking about back on his 2012 debut Dukobanti. Instead these are the notes and tones that appear only after all the other notes and tones leave the ear— sounding after sound. Albers, of course, also painted cover art for albums like Provocative Percussion and Persuasive Percussion Land III, and late in his career became interested in translating fugues and rhythms into the visual language of paintings. I think of Timothy working the other way, translating visual color into the language of sound and music.
There are more conventional ways to talk about this album. Vegyn handles percussion and co-production, Twin Shadow, Dave Okumu and Melanie Faye contribute guitars, Kwes sits in on an Op-1, and Lil Silva co-writes, co-produces and lends vocals to the languid slur of “Fall Again.” As on previous albums, Timothy’s family show up as well, with his brother on trumpet and his sister offering an Afro-pessimist koan on “TDAGB” (Things don’t always get better). The whole thing is ably produced and corralled by Rodaidh McDonald who knows a thing or two about form and un-form from his work with both Adele and King Krule.
But that kind of talk goes against Help’s grain. Are these even songs? I’ve called them sketches, but maybe they are more like shapely soundscapes, or musical case study houses where ideas flash with intense melodic light, and then warp into a radiant darkness. Is that darkness a form of blackness? A
figure of it? A re-coding of it? Help continues Timothy’s penchant for abstraction while still wanting to engage with histories of Black diaspora and migration between England and West Africa— a version of what curator Adrienne Edwards once famously called “blackness in abstraction.”
Timothy similarly refuses to choose between one or the other, colorist abstraction or colorist politics. Instead he sits down at his piano, and carries them both. He floats. He listens for the space between distance and proximity, between the repetition of the word slave and its eventual unintelligibility. He
settles into the planar beauty of the between and starts to dream.
Josh Kun, 2016 MacArthur Fellow, Professor and Chair in Cross-Cultural Communication, USC
01. Next Tomorrow (02:55)
Guitar by Twin Shadow
Percussion by Vegyn
02. Slave feat. Ibiye Camp, Twin Shadow (03:56)
Vocals performed by Ibiye Camp
Guitar by Twin Shadow
03. Tdagb (0:20)
Vocals written and performed Isabella Timothy
04. Fall Again feat. Lil Silva (04:11)
Vocals written and performed by Lil Silva
Trumpet by Miles Timothy
OP-1 by Kwes
Guitar by Mansur Brown
Co-produced by Lil Silva
05. 9 (03:14)
06. Groundnut (03:19)
Guitar by Twin Shadow
Percussion by Vegyn
Vocals written and performed by AA and Krim
07. Like feat. Vegyn (04:23)
Vocals performed by Ibiye Camp
Co-produced by Vegyn
08. Radish (4:06)
Percussion by Vegyn
09. Something feat. Mr Mitch (03:04)
Co-produced by Mr Mitch
Guitar by Dave Okumu
Vocals performed by Desta Haile
10. Alone (02:32)
Vocals by Masha Lisogorskaya and Max Valizideh
Guitar by Nicholas Mandalos
11. Still Happened (03:12)
Co-produced by Dave Okumu
12. Look (04:57)
Vocals written and performed by Ellsworth Kelly
Percussion by Vegyn
13. Same (02:40)
14. Ice (03:14)
Vibraphone performed by Rodaidh McDonald
15. C (04:14)
16. U (02:34)
17. Morning (01:52)
18. Pink (02:14)
Co-produced by Vegyn