Nu-Jazz | Broken Beat 243 Items

Having released the last album under the alias Renegades Of Jazz in 2019, David Hanke finally returns with 5th fulllength Sonic Verve, out on his own Bathurst label. Sonic Verve takes the listener deeper into the Renegades Of Jazz journey, a journey that already saw Hanke move from swinging big-band breaks to darker brass band boogies, from afrofunk-inspired breakbeats to tropical treats. With this album Hanke opens a new chapter, exploring the depths of broken beat and the more electronic side of jazz. The 12-track-strong album sees Hanke collaborating with Copenhagen-based multi-instrumentalist and producer Teis Ortved on album opener Room for Hope, a slow-moving but energetic piano-driven song that features the unmistakeable saxophone playing of the Danish newcomer. In Just Stirred, which was the first single extracted from the album, Hanke collaborates with UK producer Jonathan Radford aka Diesler, and the duo call on the soulful vocals of songstress Laura Vane for this uptempo Rhodes and synth-led tune. Next up is Honey Badger, a catchy good-vibe breakbeat on the more electronic side of things, coupling slinky and quirky electronic bits and chords over a midtempo beat with a funny hi-hat pattern… sorry if it makes you lush. Look Around features the vocals of Oakland-based MC Mani Draper who absorbs the creative spirit and musical history of the Bay Area and infuses this essence into his lyrics, Draper time! This track speaks about the daily overload we are all exposed to and the associated risks that come with it.

Italian nujazz newcomers pop back up with a full length LP on Chicago's own Star Creature label. Futuristic acid jazz over heavy drum beats, minimal squelching West Coast synths, punchy basslines all tied together under a warm bed of vibey overtones. Due out in early 2023.

London-based artist, musical director and producer Amane shares ‘Moments Of Solace’ via Música Macondo. Introspective and contemplative from the outset, the 6-tracks EP meanders between the hypnotic pulse of electronic percussion, nocturnal pads evoking elated epiphanies and calming synths. Echoes that fade and return, an ecstatic wave of sound. For Amane, the music collected on ‘Moments Of Solace’ is the physical answer to a world that seems to become darker every day. A creative way out, a sonic world where ambient excursions à la Boards Of Canada coexist with thumping beats that could have rolled out of a Floating Points’ set at Plastic People. On ‘Moments Of Solace’ Amane distills ambient electronica, idm, jazz, crafting music that reflects his global pursuit - a non-stop touring creative able to soundtrack night drives on the Pacific coast highway, clubbing in London or a meditative trip on the Shinkansen.

We are celebrating our 4 years anniversary with Houseum Records, so what better way than to gather together 12 artists we particularly like around a compilation rich in diversity? This double vinyl invites you to explore different horizons thanks to the multiple facets proposed. We let you discover this unexpected project full of surprises.

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed. The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike. Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk. Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.

YUKU's fourth record in what's becoming a increasingly sought after vinyl-only series of anonymous white labels brings the mysterious Kliptown alias back for a solo release. Extremely fun and versatile 130-140 bpm broken beat weapons.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s delivered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Alright’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Latin shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmering synth-strings, twinkling melodic motifs and glistening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sumptuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe continues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in waiting: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

Encompassing elements of experimental techno, ambient, dub and jazz; sonic scientist Pie Eye Collective - the solo project of Bristol-born, London-based Matthew Gordon - returns with second album ‘Tangential City’, an instrumental exposition of how people experience different lives in the same city.

Pie Eye Collective’s voice remains clear in this new record, while hinting at exciting new developments in an ongoing exploration of rhythm and frequency. With a quasi-scientific, research based approach to music making, Pie Eye Collective creates an organic collage of evocative sounds, which could be filed alongside records by Theo Parrish, Lorraine James or Space Afrika. Personally influenced by mathematics, graphs, geometry, and calculus; his genre-melding music draws equally from jazz and soul music, both ancient, contemporary, and futuristic. Time signatures, sometimes hard to pin down, only lead to a more hypnotic sense of being afloat in a sea of harmonics and strangely familiar musical memories. Melodic and full of spatial movement, momentary pulses, and interjection; it is music that wants you to free yourself completely and wash over you.

One person has a different experience of living in a city to that of another. Barred by accessibility, wealth, race, gender, nationality; parts of the city are opened or closed to the individual with or without their knowledge. Impressions can either diverge and deviate so much that they could be describing entirely separate places, or be so similar they could be living the same life. Multiply this by the several million people that live next to each other and a wildly fractured vision appears. A multiverse of possible experiences. Can the paths of these separate existences be unlocked and traversed? 'Tangential City' is the point of intersection.

‘Pie’s Eyes’ is the fourth and most recent addition to the growing Pie Eye Collective + Hector Plimmer songbook (the first and second appeared on Hector’s second album ‘Next To Nothing’, the third arrived on PEC’s debut ‘Salvation’). “Our creative process is very natural, spontaneous and fluid”, says Gordon. “When we write together we bounce around the studio playing with synthesizers, drum machines and bits of percussion. This track is like the playful, unbounded, collaborative dance we do.”

LA’s Taylor E. Burch ov DVA Damas and Tropic of Cancer drops a cache of nuggets for Downwards, posing a killer mix of droll post-punk vocals and stripped dub/R&B/art-pop somewhere between Lolina, Gwen Stefani and The Slits. Mad original, bass-heavy ohrwurm fire!

Over a decade since her debut 10” with DVA Damas, and following a superb stint on Pessimist’s Stigma project in ’21, ‘The Best of Taylor E. Burch’ (though none of this matereial has even been released before) reveals her prowling swag from unexpected angles across nine distinctively succinct bullets bolstered by Elon Katz’s vocal production. Laid-back but tightly coiled, they slant from the clear echoes of Inga Copeland/Lolina on its intro, to cattier art-pop minimalism on ‘I’ve Never Felt Better In My Life’, her vocals layered and sparingly pronged with compelling effects around her wiry guitars and flashes of the gnash and bump that made her work with main vehicle DVA Damas (beside Joe Cocherell) so vital.

The lilting, purring punky dubs of ‘I Wanna Be Your Girl’ and ‘Time Differences’ illuminate a softer side delivered with a wry swagger, from the eyrie, clipped dembow Tears For Fears cover ‘Head over Heels’ to potent highlight ‘F*ck You Up’, while ‘We’re All The X’ and ‘’Time Is On My Side’ make us think of a slanted Juliana Hatfield, and we can’t help but recall that ace Fay record (‘Din’, Time No Place, 2012) in the brittle but heavy af ‘Na Na Na Na Na (Reprise).’

One of the most enjoyable, rinsable tapes of the year, full marks, plus.

Beanfield’s mega classic re-release in a double 12” pack with old and new remixes by Toto Chiavetta and Art Department and a new Beanfield track. “Tides” was originally released in 2004 and evolved into an all-time club anthem by means of Carl Craig’s huge remix (C's Movement #1), followed-up by the stunning Ripperton remix.

This record is a soundtrack for imaginary movies, private documentaries and unreleased TV-series. Let yourself go and unleash your fantasies. Someone calls it library music

Heralding the release of Memoirs of Hi-Tech Jazz, the forthcoming album by Detroit-born-and-based artist, Waajeed, the 12” features further examinations of the track’s motifs by the vaunted Detroit collective, Underground Resistance, Zambian producer SHE Spells Doom, and a special reimagining by Waajeed himself featuring live drums.

Alongside the LP version the three remixes further explore the links between Techno and Jazz, styles both founded on African traditions that make commentary on the present but are always oriented to potential hereafter.

On the People Mover Remix, Waajeed enlists the talents of Zo!, Tall Black Guy, Michele Manzo, and more to explore one extreme of the track’s musical heritage. Syncopated drums, driven by a full and bright snare drum, firmly place this version in the sphere of contemporary Jazz emanating from Detroit and cities across the US.

Coming from an album inspired by revolutionary efforts against oppression in Detroit and in Black locales around the world it is entirely fitting that Underground Resistance should provide their take on Motor City Madness. UR’s Mike Banks follows the lead of the original’s melange of genres. By thickening the bassline, peppering the mix with extra brass from the Mad Brass Horn Section, and adding strings courtesy of Six Mile Strings, UR further explore the dynamic intersection of music, history, and geography.

SHE Spells Doom closes the remix package with his second release on Tresor after his contribution to 2021’s Tresor30 compilation. The Zambian artist trims Motor City Madness down to the bones of the brass section and infuses them with a gqom beat, simultaneously referring to Jazz and Techno’s deepest roots in Africa, as well as suggesting where they might be headed in the future.

2020 was a big year for dj poolboi (aka Adam Ansley); his debut LP 'it's good to hear your voice' and a remix for Moby amongst his achievements - now the Austin native has turned his mind to the UK with a shimmering four-track release on Shall Not Fade. 'rarities ep' is the premiere release in a new series, Classic Cuts, which focuses on feel-good sounds of all styles, with a nostalgic edge.

Ansley describes his sound as "music to skate to" and rarities has some of that languid summertime feel to it, but has a vibe that brings to mind a boat party on some sun-baked French coastline more than a skatepark. It opens with 'Ghosts'; a track as melancholic as the title. Touched with faint vinyl crackle, lingering keys draw you into a driving house beat that is danceable despite its haunting air. Where 'Ghosts' has you slowly swaying to the beat, beer in hand, 'Tu Tienes Mi Corazon' is a hands-in-the-air banger - all subtle bassline and slow natural breaks. Saxophone melts in and out of the background and the A-side fades away into birdsong. On the B-side, 'Elope' leans into the summery day-party energy replete with syncopated organic percussion; it's a track that ebbs and flows wonderfully. Closing out the record, 'Before You Go' is the most "electronic" piece, a nod to electro that forefronts the earworm bassline. The EP is a balm for the soul that is made for the festival season.

EDB’s follow up of his 2021 debut ‘True Stories’ is finally here, and shows once again his skills for all things funky, quircky and some basslines to die for! There is a whole range of vibes here from the astro funk of the aptly titled ‘Progressions’ to the Detroit echoes of ‘Not A Choice’, the modern twists of ‘Nothing is Wasted’ till the beatless opus ‘Masquerade’. But make sure not to miss this special collaboration with Kemetic Just’s own Just One on the anthemic ‘The Rhythm Got Me Way Up’. ‘The Long Way Up’ its another testament of EDB’s never stopping brilliance!

Amaury “King Klavé” Acosta’s debut solo album features virtuoso collaborations with Pino Palladino, Pedrito Martinez, DJ Harrison, Marcus Machado; as well as the vocal stylings of Jake Sherman and J. Hoard.

The Album is a 17-song genre bending synthesis of Jazz, Hip Hop, R&B, Funk, fused with Afro Cuban Music that was recorded in New York City with over 20 musicians.

This project is a multi medium art project, tying in music, film and painting. The film will be released in 2023, and the cover art was painted by world renowned Cuban artist Luis Cruz Azaceta. The music was inspired by many topics including, mental health awareness, navigating the duality of having multiple cultural identities (Cuban & American), Finding the courage to preserve regardless of the world’s uncertainty, and staying steadfast to his vision.

Sohan Wilson is a young composer and arranger keyboard player from Switzerland. Half of duo Keys of Lynx, Sohan sent us his album almost 2 years ago and we were totally impressed with the quality and the soulful vibe. He asked us if we were interested in releasing it and we said yes.

For this first album the inspiration came from the 70’s and the 80’s with a touch of contemporary soul and jazz. The A side holds 4 tracks entirely recorded with musicians for a total acoustic and organic experience like « in the old days « while the B side is made with Beats and a more electronic soulful approach. This album tells a story, almost like a movie and thats why its a complete album to listen from beginning to end and enjoy the full experience of Sohan Wilson first solo Long player. Featuring the amazing voices from Dwight Trible and Brian Owens this album sounds already like a future classic that you want a listen over and over again.

The third release in the series of 12” EPs featuring reinterpretations of tracks from the album “People Need People” - the brilliant album by Nicola Conte and Gianluca Petrella released in 2021 - features the excellent collaboration of two American artists from the Detroit scene Tall Black Guy and Andrès. Terrel Wallace AKA Tall Black Guy, raised on bread, Motown, jazz and early hip hop... he has become a standard bearer of the current hip hop beat scene. With a steady stream of sample-filled productions and clever flips, he has won fans all over the world. His production skills are showcased in his own rendition of “Nigeria”, where he calls on Broken Keys AKA Tommy Sheridan DJ, producer, vocalist and multi-Instrumentalist from Cleveland, Ohio. On side AA instead, DJ Andrés, now a revered figure of the Detroit scene praised by the eclectic Moodyman and Carl Graig among others, delivers a house version of “African Tribes” worthy of the most important dancefloors, in which he mixes soul-jazz parts with fragments of vocal samples and spoken words, all sublimated into a musical mixture with a strong deep house impact, with rhythm and mood typical of the black culture. Originally conceived as a trilogy, this successful reworking series will eventually embrace a further fourth chapter including two new Fred P. interpretations of the tracks “African Spirits” and “Tribes

Californian funk collective Banda Maje put their spin on “Wait For Me”, a disco-funk track by Canadian multi-instrumentalist Franky Selector. The full, vocal version of the re-edit, on side A, sees Franky Selector himself sing in perfect Neapolitan amidst irresistible backing vocals, while the instrumental version is provided on side B. Both versions brim with joy, funk, and Salifornian energy, bringing Italy and Canada closer than ever. Infectious groove has no boundaries.

Like the flower from which he takes his name, which is very rare and only grows once a year in one region of the world, the music of Rose Noir cultivates a form of dark and fascinating elegance. Traces of its genesis can be found in the sampling practice of the golden age of hip hop dear to the musician, but it also manages to retranscribe the total aesthetics of the culture of the 60s and 70s, when the stars aligned to give birth to a music bathed in cinematographic influences in the wake of Marc Moulin, Brian Bennet, Azymuth, Janko Nilovic or David Axelrod. Assembled with the help of instruments, Rose Noir’s music has nonetheless benefited from the hybrid background of its creator, an unrepentant digger with a wide-ranging and curious musical culture. Rose Noir embodies a new phase in the development of a master craftsman, the sound of the French producer is halfway between beat making and majestic arrangements. Though the tracks of this new project Bloom EP wouldn’t be out of place in the soundtrack of a suspense film from the past, they are the reflection of a man in complete control of his art, guided by the same instinctive and passionate searching that has allowed him to evolve from his first starts, by following a trajectory that belongs to him alone. Rose Noir’s compositions are lush and varied, using as much space as they do sound for dramatic and dynamic effect. The French musician and producer Rose Noir appears to float across different musical time periods, as if touched by grace. But it’s thanks to his iron will, combined with a highly personal and creative approach to music, that he has managed to define new territories and reinvent himself constantly.

INFRACom!, one of the longest operating Independent labels in Germany, celebrate its 30yrs anniversary with a vinyl compilation consisting of tracks that have never been released on vinyl before. Label co-founder Jan Hagenkötter handpicked these from various artist in the catalog, true to the spirit of the label and its operator – We couldn´t save the entire planet but we still like to save your soul. Most of the tracks included on the compilation were released only on CD and then digitally in the so-called 2000s or noughties, as it was very difficult to release any album on vinyl during that time due to the situation in the music market. The artwork was once again designed by Rafael Jimenez Heckmann, a well-known graphic designer from Offenbach. The inlay was designed by the long time friend & well known artist Jim Avignon. INFRACom!, once started locally in Frankfurt with artist like Shantel who released his first recordings on the label. He is featured by a collaboration with the Brazilian duo Rosanna & Zélia. Soon INFRACom! expanded to an international platform for artist from all over the world like Jhelisa (usa), Mop Mop & Gabriele Poso…both from Italy, Metropolitan Jazz Affair the brainchild of French producer and musician Patchworks, Taxi from the UK, Rime from Finland or Aromabar from Austria…all with different styles of music. The vision of the two founders Jan Hagenkötter & Namé Vaughn was and still is artistically oriented and has never favored just only one style of music. The roots of INFRACom as a label are based in the various form of black music culture - conditiopned to the influences and personal history of the two founders - but also deeply rooted in the club and DJ culture and various forms of electronic music. The compilation can only show a small glimpse into the universe with tunes that stand the test of time. One of the best examples is Matthias Vogt with whom the label has a long standing collaboration and who just this year released the album Pianissimo on INFRACom!. He can be heard with his Matthias Vogt (Jazz) Trio in a cinematic remix from Joash and two pieces by the highly successful [re:jazz] band which he leads. With Valique we are happy to feature a Belarus/Russian artist on the release these days….one who already showed ten years ago on his album artworks what he thinks about the politics of his government. As an open minded label and ethnical diverse ppl. we think “Fuck Putin and his disciples and like-minded people, but let's not condemn all Russian-born people. Some prefer to worship Herbie Hancock...like Valique and we want to support that.” With Nekta, Dublex Inc. feat Stee Downes and Kosma this release features three more artists from various regions in Germany, each with their great moments.….and last but not least the mysterious Woodland Conclave (UK)…a waltz and a story yet to be told and hopefully will be…on INFRACom!…in the near future!

From his humble beginnings in 2011, North African, Casablanca-born and based producer has been continuously shaping his sound signature in the sphere of electronic music, resulting in a cross-genres blend appealing to both DJs and music fans from all across the spectrum. After a small run of exalted singles and EPs, Polyswitch gravitates towards the full-length format with “praise THE Sun“ a 12-track sonic testimonial committed to the tradition of his previously released material, showcasing his distinct sense of substantially blending a vibrant profusion of musical currents. Emanating from an expression of delight and adoration, “praise THE Sun" can be used as a universal answer to questions like ‘What to do?’ when there are no other solutions left. Reflecting the times, recorded during periods of duress and uncertainty, “pts“ is a body of work conveying feelings of harmony, hope, love, and unity throughout sublime musical works. Within, the artist introspectively addresses perseverance and resilience using instrumentation as the prime expression vessel.

The fourth instalment of Best Of Various sees Marcello Cassanelli join the TLM family with Fantasia. Marcello is joined by Blake Franchetto on Bass, Giulia Barozzi on Vocals and Antonio Rapa on Drums. Next up is good friend of the label Zarenzeit with Deep Work featuring Roger Versey on vocals, a very deep track for the dancefloor. Onto the AA side and another new member to the TLM family, Stefano De Santis has some broken beat action for us with his tribute to his hero George Duke. Future Jazz Ensemble are back on TLM after their Rough Time EP earlier this year with a track called Freeway, it's a sample of what to expect from their forthcoming TLM album early next year. FJE are now a three piece with Guido Tabone on Saxophone and Michele Macchi on Percussion, the sound of FJE is ever evolving with more members joining the Ensemble for the album. Final track is from the unreleased vaults at TLM, Caruso with Vestimenta, originally recorded in 2015 and restored by Jose Rico.

The ever masterful London based DJ/Producer Shy One is back with a new 5 track EP titled From The Floor To The Booth. Following on from the fuzzy, acidic haze of the vinyl only Crumb Trail 7 inch the new EP encompasses futher rich and eclectic sounds of Shy's musical heritage, London leaning from Broken Beat to Soul, Garage to Grime. The record journeys through and abstracts a variety of styles, tipping its cap to the archtectics of Londons musical underground from Soul II Soul and 4Hero to Loose Ends and Roll Deep. A notion every bit apparent in Shy's eclectic bass heavy, hi-energy club selections. The record is Shy One's most in-depth and ambitious release to date. The artwork is created by Herald Essuman of Artbox London. An incredible London based charity that supports artists with Autism and learning disabilities.

The train hurtled forward, rocking side to side as field after field rushed by under an unmoving sky. Her gaze was transfixed on the blurred landscape that passed her by. Behind her, she had left a city with lifelong memories, and as her mind cast back to thoughts of home, a salty tear welled in her eye. It did not fall. She yearned to go back, but her heart knew that this would never again be possible. Inhaling, she held her breath for a moment, almost unexpectedly. A nostalgia was within her, but she knew she must continue, direct her own life and maintain this motion before it dwindled into inertia. She exhaled and the tear rolled down. Looking out toward the horizon she dabbed her cheek, then gently sat upright. Her journey was only just beginning.

Tübingen born, then Frankfurt raised Berlin artist - Johannes Klingebiel, unleashes a potent and untiringly emotive work for the fourth imprint on Amsterdam’s Bloomer Records. A man of many disciplines, he combines his background in jazz drumming with an insatiable appetite for all varieties of electronic music.

Beginning with fond nostalgia that is juxtaposed by the driving motion of organic breakbeats, one is immediately engulfed. Rich synth leads play on minor chord variations to begin and work towards complex and richly cinematic compositions. After the first four tracks, ‘Break Something’ stutters in with a club-ready feel. Capable of both at-home and party environments, this thought-provoking release cannot be boxed into clear-cut categories.

Johannes Klingebiel uses delicate percussion skills to speak to his electronic orchestra. His lust for crisp, clean breaks results in an often inexorable motion that punctuates pensive chords and crescendos. Beginning with breakbeat variations the release ebbs towards half-time drum structures, IDM and experimental expressions later on. Among these quirky and often nostalgic gems, one can find a few driving and noticeably danceable numbers, offering glimpse of familiarity amidst emotive and inquisitive soundscapes.

Serbia's Disco Fruit crew has been putting out lush sounds that take in funk, breaks and soul influences on top of their bread and butter disco grooves for years now. This time they welcome back a label regular, Loshmi, who has put out plenty of edits here before now. His new one 'Dark Night' is a 60s-tinged high speed spy theme with funky brass and bristling drums all overlaid with rock-styled vocal yelps. The instrumental on the flip is a more paired back but just as hustling groove.

Pique-nique Recordings is proud to present People’s Dream, the latest solo release from NYC-based vibraphonist and electronic producer Will Shore. Inspired by Francis Bebey and Don Cherry’s electronic music from the 70s and 80s, People’s Dream draws heavily from modal jazz, minimalism, and dance music. It blends tightly composed percussive phrases with freely moving melodic improvisations that feel as much at home in a DIY loft space as they do on a custom-built sound system at Nowadays. Shore says: “The vibraphone is the thing that I know best, but I’ve always found the instrument quite limited. Its pure bell-like tone can seem too pretty to evoke a wide range of feelings. I normally find ways to obscure that pure sound: I distort it, pitch it down, or layer rougher textures over it. But for People’s Dream and Lucid, instead of obscuring the sound quality, I decided to embrace it. I used the vibraphone for not only melodic parts but also as a driving rhythmic element. I let the entrances and exits of melodies appear and disappear in a dream-like way, and added electronics and percussion as texture, to create a more cinematic atmosphere.” On the B-side, UK producer and label-head Tom Blip (Blip Discs) flips Lucid into a driving, bass-oriented club track, fit for vibrant dancefloors this summer. On the back of successful collaborations with East African artists Swordman Kitala and Mubashira Mataali Group, Blip unleashes a trademark peak-time drum track designed to elude any dream-like state.

Meeting Point bring us four slices of moody but musical experiments from the point at which broken beat and bass culture meet. The slow motion of skeletal skank of 'Brass Beat' shows that the duo are capable of tempting plenty of character out of their machines, while 'Morning Air', with its highly pitched synth glories and stop start drums, also show they're not in the least bit bothered about fitting into existing genre frameworks. Fascinating stuff.

Following last year's debut LP “Palav Aed” for Amsterdam’s Wake Dream & a remix for Versatile boss Gilb’ R, Ruutu Poiss gives us a peek into his old demo compartments.

A side raw & tireless drum workout gets charged up by lush pads & synth maneuvers. A bit breaksy? It’s called “Drumstixxx” for a reason. The flip is full of intruders – awrily measured bass stabs & FX-fuelled leads jumping in & out whenever they feel like it. The glue here is that clattery hihat that leads us thru the track. Keeping it moving, always.

The two tracks on this 7" might feel “old” for Ruutu, but hold a true sense of his unique imaginative style.

Freek Mulder, a.k.a. kotokid, is spreading his wings and taking to the skies with his debut release. The first EP of the producer and bass player is symbolically titled ‘Fledge’, as in the young birds’ period just before embarking on their first flight, while developing feathers large enough in order to take off. The listening experience reflects the feeling, is packed with complex compositions, yet full of light sonically and spiritually.

The intricate title is complemented right off the bat with the first track, ‘Unfreeze’, which captures the emotions of opening up again after hiding away from yourself. Recorded in the Flowriders studio with Freek on bass, along with a bunch of analog synths and drum computers, together with Jonathan Szegedi on drums, and Maarten Cima on guitar. Restoring optimism with ‘Revlead’ and ‘Glitchdragon’, inspired by late ‘70s Weather Report feels like a sonic embrace. 2 tracks on the EP feature the soulful vocalist Bahghi Yemane, on the genuinely empowering, emotion-filled ‘Neghisti’ and a thoughtful tribute to the city of arched bridges, ‘New Amsterdam’. Overall, the elements of ‘80s jazz-fusion, modern hip hop, and indie R&B shape this musical piece into a unique experience of its own kind, cleverly blending ponderous melodies and harmonies with solid grooves and sound design, while the bangin’ bassline ties everything together in the most sophisticated and delightful way. Kotokid renders undiscovered environments, with improvisation and composition existing as equals in his music.

The animation on the cover is a design by Portuguese tattoo artist Ricardo Almeida, which depicts a maybug, or a doodlebug, in Dutch often called ‘mulder’. Just like Freek’s last name and a family symbol that he carries around with him on a ring. Perhaps it’s no coincidence maybugs are attracted to light."

Afrotronic is the new album by legendary Dutch dance pioneer and producer Eddy de Clercq, inspired by African rhythms and atmospheres.

All songs on the Afrotronic album are influenced by music from Southern to North Africa. Largely recorded in South Africa, not only electronically but also with an instrumentation of typical African instruments played live, such as the mbira (kalimba) and traditional drums and percussion. Exotic instruments adding a fresh characteristic sound to the music, not programmed via any existing electronic soundbank.

The plaintive vocals of a muezzin on 'Ibrahim' and the melody of 'Topaz' are unmistakably North African. The funky dance track 'Miss Ghana (Afro Baby)' is sung by the Ghanaian singer Consular. Although not typically African in origin, the didgeridoo, perhaps the oldest wind instrument on earth, plays the leading role in the North African-inspired instrumental 'A Track Called Africa'.

Inspired by his travels through South Africa and his love for the African languages of that country, Eddy wrote texts that he had translated into Xhosa. 'Coral Reef' was the first song recorded with South African singers Yemu Matibe and Alungile Sixishe, supplemented with classical arrangements for cello and piano. The original English text describes the loss of coral reefs worldwide due to climate change.

Afrotronic has ultimately become an adventurous, electronic, jazzy album, in which influences can be heard from Afro-pop, Dub Step, Deep House and South African Amapiano.

8 years after his debut album entitled "What You Give", it's time for the Greek musician's second long player! No doubt, this is Bengoa's most mature work to date and a product of countless studio hours. Pushing his electronic sound forward, the Greek musician, dj, songwriter and label owner, delivers an outstanding 9-track LP, floating between trip hop, nu-jazz, mid and downtempo motifs. The extensive use of physical instruments like saxophone, trumpet, guitars, piano, percussion and bass add musicality and deepness to the whole record, on which Bengoa has also written most of the lyrics himself. "Music For Your Red Parts" flows like an undercurrent of nervy isolation and late night melancholy, toying with the emotional structure of it's own sound. Songs that signal something memorably, indelibly and hypnotically sexy, without talking about sex. Music that you feel - strong, soft and filled with emotion. It wants to meet you in your deepest parts. It will play games with you, fill you with sorrow, or send you into a deep reverie. out now through Saos Records.

Wave to Mikey, the fourth album from the Los Angeles-based actor, musician and photographer Danny Lane is a nocturnal, neon-lit ode to the friendships that shape us. “I made this album for my friend Mikey from back home,” Danny explains. “We were pretty much inseparable for a large part of our lives, and our musical and social minds were always in sync in a special way. Then with age, we drifted apart, especially since I moved to Los Angeles. This album is just a little wave hello to an old friend and a kindred spirit.”

Equal parts avant-garde composition, instrumental city-pop, ambient, Kankyō Ongaku (environmental music) and Fourth World music, Wave to Mikey is an impressionistic and reflective cycle of eleven richly detailed memory portraits. Throughout the album, the influence of Jon Hassell, Arthur Russell, Hiroshi Yoshimura and Yellow Magic Orchestra hangs in the air like late-night mist, adding character but never overshadowing the rhythmic ambience of Danny’s musical visions.

Wave To Mikey began as a series of sketches on analog synthesisers, guitar, sample and found percussion sketches, initially recorded in Danny’s home studio. Once he’d located the vibe, Danny called on his friends E Talley II, Solange collaborator John Carroll Kirby and Destroyer session musician Joseph Shabason, who respectively added flute, spiritual synth textures and saxophone to the record.

For Glossy Mistakes founder Mario G.R., who originally discovered Danny through his photography, Wave To Mikey captures a vivid feeling of melancholy and peace. “He's able to encapsulate emotions in a very straightforward way, either in his portrait or songs,” Mario says. “I think that's a kind of virtue or skill given to talented artists, no matter the field.”

Born and raised in Staten Island, New York, Danny began playing music with his friends when he was thirteen, before putting that passion on pause to study Fine Arts (Theatre) at Rider University in Lawrence Township in pursuit of an acting career. Acting led him to photography, after playing a photographer in a film, he was inspired to pursue the medium. Danny began shooting photos on film for magazines and lifestyle brands, spent a stint living in New York’s Chinatown neighbourhood, and eventually relocated to Los Angeles in 2017.

Four years ago, Danny started recording and releasing music under his own name, leading to the trilogy of releases that preceded Wave To Mikey, How To Empty A Cup (2019), Memory Record (2019) and Caput (2021). Over the course of these releases, he’s revealed himself to be a sophisticated composer and producer with a studied ear from years spent digging through record bins for ambient, experimental, new age, jazz and electronica records from around the globe, with a particular emphasis on Japan.

“Music is something that’s always been involuntary for me,” Danny reflects. “It’s unconditional, always there. It’s something I just have to do. I’ve taken breaks and it’s always gloomy when I’m not playing. I just want to get better and better and understand more and more.”

Here at Glossy Mistakes, Wave To Mikey marks our second contemporary album release, following on from Evenings by Japanese composer Metoronori. We’re proud to be able to present Danny, Metoronori and other modern musicians' work alongside reissues of classic works from Stevia aka Susumu Yokota, Akira Ito, Yuji Toriyama & Ken Morimura, and Takashi Kokubo.

Mastered by Damian Schwartz, Wave To Mikey will be released on Vinyl LP Glossy Mistakes on June 27 2022. Besides the regular black vinyl, a limited clear vinyl will be available in an edition of 100 copies. Both editions come packaged with original cover art photography shot by Danny.

Techno legend Jeff Mills and keyboard wizard Jean-Phi Dary embark on an exciting, ground-breaking musical trip that takes Techno and electronic dance music to a new level. In the past Jeff has spoken of the need to, "take a few steps back and try andassess what has been done, and what might need to be approached to be able to go forward." Paradox: Live at Montreux is the result.

Techno legend Jeff Mills and keyboard wizard Jean-Phi Dary embark on an exciting, ground-breaking musical trip that takes Techno and electronic dance music to a new level. In the past Jeff has spoken of the need to, "take a few steps back and try andassess what has been done, and what might need to be approached to be able to go forward." Paradox: Live at Montreux is the result.

Hand numbered, coming in a white flap envelope with info card inside. Description: Luke Beats – Nature Walk Prod & Mix by Luke Beats “Put down the phone, press play, then breathe”

Kaidi Tatham returns to 2000black with R&B and boogie offeringsin his own distinct style.'Galaxy' features Lola who soulfully sings about escapism and hope through the stars.'A Message From Above' sounds like the gods themselves have passed on a messageto Mr Tatham to tell us all. Take heed to the sound of jazz boogie via Jamaica.The Ep is signed off with 'Ergonomic Structures' the sound of a hip hop 2 step tune that we all wish existed in '87 (soundman know wha we a chat)

The new collaborative project between Deborah Jordan and K15 explores the concept of our own humanity while attempting to address what does in fact make each of us human. While the inspired pairing of revered singer and songwriter, Deborah Jordan, alongside the boundless versatility of producer and musician K15 (Kieron Ifill) for a whole album seems too good to be true, this is actually a project that each of their respective roads have been converging towards for years.

The songs throughout ‘Human’ beautifully embrace the array of styles that both Jordan and Ifill have become attributed to – from the brilliant Culross Close-esque production of album opener ‘Running’ to the twinges of broken beat found in ‘Innervision’ and the more acoustic, piano-driven tracks like ‘Change’. The masterful production is both sparse and intricate affording Jordan’s typically incredible vocal the appropriate space to explore these sonic soundscapes in her own inimitable way while expressing those very characteristics about our own humanity.

To celebrate the 3 years anniversary of Mother Tongue and remind us all the sheer quality of the Madre Lingua album project from last year, MT’s own Patrick Gibin curated this special remix double A-sider! Patrick himself teamed up once again with Kaidi Tatham to refreak the EDB & Gary Superfly collaboration ‘Pressure’….the result is pure nasty and rude house vibes aimed at the dancefloor! On the flipside Mark De Clive Lowe gave a spacey and beatless twist to the electronic opus ‘Apollo 3000’ [another big favourite from Madre Lingua] moving things into more abstract territories! The best of both worlds on a single phat 12 inch!

UCC Harlo and NY Graffiti team up for the second release on Peace Anthem Records. Alternating between bleary-eyed impressions and tightly articulated expression the artists forge a path laden with plangent sound, muted color, and circular forms. Ketamine-paced grooves, baroque miniatures, hazy-humid sonics, and dub inflections populate this domain. Each delivers one original and a remix of the other’s track.

This is the second in the 12” EP releases series featuring reinterpretations of tracks taken from the People Need People album, Nicola Conte & Gianluca Petrella’s brilliant collaborative jazz dance album released in 2021. After Joe Claussell’s fantastic work on “Inner Light” on the previous 12”, the same song gets here a further interpretation by the great Anthony Nicholson, one of the most respected producers and key characters in the tribal / afrocentric house scene, with more than 30 years of experience in the field. We also asked DJ Spinna to put his artistry on “New World Shuffle” and the result is uplifting: Bridgette Amofah’s original vocals shine over a sunny house groove full of keys and moog lushy layers, in a distinctive ‘Spinna feel’. Yet another meaningful perspective on the “People Need People” original release, which will soon receive another significant treatment by none less than Tall Black Guy, Andrés and Fred P! Stay tuned!

What do notions of freedom and movement mean to us as we experience unprecedented restrictions on travel, culture and socialisation? Henry Keen’s Freedom In Movement offers a soundtrack to both remember and look forward to freedom through music, movement and community.

The memory and feeling of the Plastic People dancefloor were often in Henry Keen's thoughts as he produced the tracks on this new LP. Inspired by the London club nights he frequented – Balance, CDR, and CoOp – Freedom in Movement is Henry’s first vinyl self-release, an embodiment of self-expression that compliments his contributions to projects Electric Jalaba and Soundspecies.

The soulful tracks on the album pick up where Henry Keen’s 70's Baby (Maddjazz Recordings, 2017) record and EPs as The Room Below on the Don't Be Afraid label left off, bringing a range of tempos to get heads nodding while hips and feet work out. Lovingly made, the collection of songs offer meditations on questions evoked by the record's title and respite from the heaviness of challenging times. The lead single from the album is Dexter’s Breakfast, featuring London-based woodwind expert, and previous collaborator Ben Hadwen on baritone/tenor saxophone, and flute. Dexter’s Breakfast was released digitally on 25th June 2021 and gained support from the likes of Adam Rock (Jazz Re:freshed), Kev Beadle (Mind Fluid), Simon Harrsion (Basic Soul), Psycut (Music Is My Sanctuary) and Laani and Papaoul (Worldwide FM) amongst others

Welcome back our longtime friends on Mule Musiq.

Finland born now Berlin based producer Freestyle Man aka Sasse and no explanation needed, German house music producer Henrik Schwarz teamed up for their collaboration 12inch.

A side “Moat” feat veteran producer Jimi Tenor is elegant deep house and b side “dub 5” is German style dubby minimal House.

Hope you enjoy.