Organic Grooves 383 Items

HHV is excited to be able to offer this bundle exclusively in Europe.

Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted.

The music had to be great and able to be presented as a stand alone album – like the best “Music Library” releases of the past, on labels like Italy’s Sermi, UK’s Bruton, France’s Mp2000 and the UK’s DeWolfe. And, like those albums, it had to work as easy, one-stop clearance in film and television synchronization usage and, as producers have been indulging since the 1990s, for sampling.

Listen, ponder, repeat.

US customers, please buy from Rappcats. UK customers, please buy from Mr. Bongo.

SOURCED FROM THE ORIGINAL MASTER TAPES: MOBILE FIDELITY 180G 33RPM SUPERVINYL LP
REVEALS MULTIPLE LAYERS OF RHYTHM, VISCERAL BASS, AND PIONEERING PRODUCTION TECHNIQUES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Harumi Ohzora’s “Viva” first released in 1983. This album features an array of musical influences from Salsa to Synth-pop and Rumba to Mambo. The record’s lyrics were composed by Takashi Matsumoto and its music composed by Haruomi Hosono.

Jun Miyake and Ichiko Aoba's live sessions held in Tokyo in November 2016 and the following February 2017, valuable recordings that had only been released in high-resolution format for distribution, will finally be released in vinyl format as well.The first performance in January featured Tatsuhisa Yamamoto on drums, and the second performance in February featured a quartet formation with the addition of bassist Hitoshi Watanabe. The two talented musicians will give us a glimpse of how the music of Jun Miyake and Ichiko Aoba is being breathed into a new life.

●Ichiko Aoba : Vocal, Guitar ●Jun Miyake : Electric Piano, Flugelhorn ●Tatsuhisa Yamamoto : Drums ●Hitoshi Watanabe : Bass, Cello ●zAk : Recording & Mixing

Renowned Berlin-based music discovery platform ColorsxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A Colors Show tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of Colors’ new ‘move’ and ‘feel’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate Colors’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘move’ playlist—and hence on the ‘move’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘feel’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by Colors’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A Colors ShowS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “move” side features embossed lines, stripes and slashes indicative of motion, the more introverted “feel” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience. MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.

Yasuhiro Usui and Katsuaki Komiya recorded live in Nagoya Nanya in 2023. The live recording album "undulation" is now available on vinyl!! Yasuhiro Usui is a guitarist/composer/producer living in Nagoya, Japan, and active in the eclectic genre of improvisation in Japan and abroad. He considers improvisation as the origin of music, and performs around 100 gigs a year. Katsuaki Komiya is a drummer with a unique background as the former editor-in-chief of Rhythm & Drum Magazine. With a unique style that makes full use of not only drum sets but also ethnic percussion instruments such as the djembe, he is active in a variety of fields ranging from improvisation to jazz, rock, and singing.

This one has been in the works for quite some time. A statement compilation showing what Full Circle is about, paying homage to the very roots of psychedelic dance music. A little town in India, which was a haven to a bunch of hippie outcasts, was throwing freeform outdoor parties since the day those freaks put their flag down. What was once a gathering around live music blew up into a rave as electronic music started to appear, paving the way to what would eventually become Goa Trance.

Full Circle, the duo project of Alexis Le-Tan and Joakim, started 10 years ago when Alexis accidentally discovered that some of his old Goa Trance records he was about to sell sounded great when played at the wrong speed : 33rpm instead of 45rpm. He called his long-time friend and collaborator Joakim to work on edits of those tracks that became the sound signature of this DJ duo : a slow, heavy and trippy sound that would eventually infiltrate the fringes of the underground club scene via like-minded DJs such as Vladimir Ivkovic, Jane Fitz, Ivan Smagghe and many more.

10 years later and a bunch of releases and remixes behind them, Full Circle decided to tell the story of how this Goa sound came to life. At a time when Trance has made a major

comeback and infiltrated pretty much all the sub-genres of club music, it felt right to look back at where it all started - going full circle, when Trance was not Trance, Goa was not Goa but the seeds of tripped out dance music were being sown.

After all, there are countless compilations about Balearism, the Italian Cosmic scene,The Loft, The Paradise Garage etc but none about the roots of this Goa sound.

This is a compilation of the best tunes played by the pioneer Goa DJs like Laurent, Goa Gil, Mike Maguire amongst others, between the late 80s and early 90s. Proto House, New Beat, early Techno, Industrial, with a distinct psychedelic tone, a few arpeggios here and there, acid lines, chopped up vocals, all elements of what would later constitute a genre of its own.

This beautifully packaged compilation includes liner notes by Tom Colebrooke and excerpts from Tom and Alexis’ interview of Mike Maguire of Juno Reactor fame, one of the pioneers of Goa Trance.

Check the liner notes for more info about the early Goa history !

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

MuchaMuchaM, an Asian exotic band based in Fukuoka, has been unveiled in March 2024 with the release of their first 7inch album and a digital album. This album, "Qantikala," has been attracting attention not only in Japan but also overseas. Although all the songs are instrumental, the "soulful" guitar tone evokes a sense of nostalgia and takes the listener on a journey to the seaside of Okinawa, the hustle and bustle of Bangkok, or the jungles of Malay Island.

an excerpt from Edward George's 10,000+word liner-note 8 page booklet that comes with the double LP: Delay, 1961 (the Story SO Far) "They are, Seymour said, in movement, and in keeping with their claim, their music is, like a Brownian bridge, an A&J Tranean train, a Byrdian plane, or a Blountian space-time myth-machine, a way of playing themselves into the historio-graphical hands, or better yet, the loving arms, or perhaps, to be precise, the metaphysical embrace, of ‘a new creative space’, and playing is a way, the only way, when you think about it, of getting and staying in movement, the only way of staying ahead of themselves. Staying ahead of themselves was always important, and tricky too: they were on the (musical) trail of someone who preceded them, was ahead of himself, or at least ahead of his own epoch, the late 1950s, and theirs, the late 20th and early 21st century, in which he was, before they found him (or he found them, the way music finds you — and finds you out) present as no more than a discographical evanescence. And to complicate things further, the way they talked about what they were doing as they proceeded along that trail, you’d think they were archaeologists (and not anthropologists), or geologists (and not ethnographers), as well as exemplars of whatever discipline it is through which the capacity for inhabiting and transforming the body, the corpus, of another takes place: ‘We excavate and reinhabit documents and fragments of plans and compositions that he left behind to make music that though it originated in the 20th century will speak to the 21st’. They said that, on the back, or the strength, of their first album, and it was enough to make you wonder where in the world it was that they started from, what their point(s) of departure might have been."