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Funkyjaws Music is back to make your body move with the latest instalment in its ongoing edit series, Let's Dance, this time with a sixth sizzling volume. Monsieur Van Pratt's loose and languid 'Besame' opens up with some gorgeous strings and funky guitar licks then Kiko Navarro brings a rich Afro flavour with the shuffling and percussive rhythms of 'Bosinga'. Bogdan Ra's 'Get On The Floor' is a fresh take on a disco classic with irresistible vocal charm and swooning pads. Last of all, Zaffa demands you 'Shake It' and you surely will as he layers up wet claps, sliding hi-hats and lively drums into a big-hearted party starter.

Here's the third installment of Sofa Records' Disco Single series! Featuring four standout tracks from Algeria's 1980s music scene, this collection showcases the cultural diversity and creativity of the country. Listen here. Galouli Enshara (a1) and Zourini (b1) are two captivating pop-boogie-funk tracks by Khaled Barkat, a self-taught multi-instrumentalist from Algiers. Produced by Khaled himself in 1983, and recorded at the esteemed brothers Torki’s studio in Algiers along with his friends—and talented musicians —Yazid Fentazi, Redouane Ayoub, Mustapha Mekerkeband Mhenni Benlala. The album, if he had a certain success (Khaled Barkat is considered as a pop music iconin his country)was somewhat overshadowed by the popularity of other genres in Algeria, such as raï music. We're thrilled to put if for the first time on vinyl! And spread this music to a wider audience. Dub El Hammam (a2) is by raï vocalist Cheb Tati, hailing from Oran. In the 1980s, as raï gained recognition in the global music industry, Tati was brought to London in 1989 to record an album with reggae/dub producer Denis Bovell. Among other tracks, this heavy, top-notch 1980s digital dub track resulted from their collaboration. Last but not least, the final track on the single is sourced from the only known recording of Asif, a Kabyle band from Lille formed by three brothers. The band was created in the late 1970s, and the selected track, Tafsut (b2), was recorded in 1985. A beautiful pop-boogie tune that we considered a marvelous conclusion to this single. This record was made in collaboration with Les Disques Bongo Joe. All tracks are fully licensed.

Doctr is no stranger to the Bordello. Now You Can Fly is his third visit to the label, his first with company. Paired with Julia, the offering is pure peak-time elation. Bending bars are cut through by beats and synth stabs, Doctr building a palpable energy with vocals synergising perfectly. Daring key shifts unveil the full track, inspirational words and melodic wizardry waltzing arm-in-arm. Flying ever higher, electrical pulses of hi-nrg jolt this dancefloor burner. Julia’s vocals are parred back for the flip, leaving those sun-kissed synthlines to soar above calypso-infused percussion. Two works of sheer happiness; just what the Doctr ordered.

Following on from last years's "Mondo Organico" compilation, the latest Invisible Inc compilation EP "Mondo Ritmo" sets its sights firmly on rhythm and percussion. Featuring a global array of artists hailing from Argentina to Senegal and everywhere in between, the influences and styles featured include latin, afro, dub, dancehall, experimental, acid and more. Proven and tested dancefloor bombs are Mytron & Balam's opening track "Cabasa Loca" which label boss GK Machine has been spinning at his Wrong Party nights and elsewhere for the last 6 months or so...and the house/dancehall hybrid floor filler "Wicked Can't Run" by LA producer Tom Chasteen (Exist Dance/Dub Club) featuring legendary Jamaican DJ and toaster U Brown, and mixed by equally legendary producer/keyboardist David Harrow who first came to our attention through his regular keyboard contributions to all things On-U Sound related in the 1980s.

The rest of the tracks may not be peak time bangers but they are sure to please the more esoteric and adventurous dancefloors out there...it's an honour to have on board Calypso Records head honcho Thomass Jackson, Thomash (Voodoohop) and Gats (Suçuarana / Curuba) who together as Changa Boys bring in Senegalese drummer Ndiaxo dal Jaam, and last but not least a certain Machine with assistance on percussion from the mysterious Congo Caveman.

Selection of all winners from the Music Team label - mid 80s to early 90s gems on here!

One of South Africa’s biggest independent labels for more than a decade, Music Team offered working musicians a shot at fame via access to top studios, producers, songwriters and session musicians, as well as distribution via a number of imprints: CTV, Red Label, Solid, Spinna, Mambo Music and others. Artists in the stable who tasted success would typically release a few albums over as many years before moving on to other labels or falling off the radar as times changed. At their peak, according to label boss Maurice Horwitz, Music Team was selling a million records a month, and was at the forefront of South African pop music as it evolved from soul to disco and beyond.

Afrosynth Records’ ‘Music Team Sampler’ dusts off six rare and long-forgotten gems from the Music Team catalogue, originally released between 1986 and 1992. Four are typical of the label’s take on the popular ‘bubblegum’ sound of the day — Isaac ‘Cool Cat’ Mofokeng’s ‘Candy’, ‘I Won’t Let You Go’ by Linda Oliphant, Jappie Lebona’s ‘My Love is Yours and ‘Instant Love (Eyami Lendoda)’ by Thandi Zulu (aka TZ Junior). Two instrumentals — Mr. Ace’s ‘Ace 1’ and ‘Axe Chop’ by The Hard Workers, a studio project by Music Team’s in-house producer Tom Mkhize — meanwhile hint at the imminent rise of kwaito and house.

Forged in the fire of a cruel and volatile political system that was gradually unraveling, instead of addressing political realities these indelible pop songs sought to provide an escape to a world where love and music were all that mattered.

Hailing from Playa Del Carmen, Mexico our dude Hotmood keeps it funky with his 'Baby Come Down EP'! Hot off his multi pressing sellout release on Blur Records Hotmood gets straight to the funk with the title track 'Baby Come Down'. All heat for your feet for this jam! House music legend DJ Sneak comes correct with his bangin floor stomper B.B.B. (Big Boss Bizness) Remix of 'Baby Come Down'. Peak time biz right here, bang it out! Back to the Hotmood sure fire floor filler 'Disco Lady' with baseline for days, and a catchy spoken word over steamy funk filled disco heat. Natural Rhythm kicks in the cruise control as we hit high velocity with a deep and funky slice & dice of 'Disco Lady'. Heavy drum work and tight percussion is the call with this cleverly woven gem that’ll fill the floor and get em moving! Next up we have the House music icon Nail of Robsoul, Classic and Diy fame with his 'Fleng EP'.

Mudd – Eighty Three (Conrad McDonnell Dubs)



‘Eighty Three’, a sumptuous slab of slow-motion gorgeousness smothered in sun-splashed synth sounds and warming electric piano motifs, was one of the undoubted highlights of Mudd’s critically acclaimed sophomore solo album, In The Garden of Mindfulness. Now the track has been given a makeover by Conrad McDonnell, a long-time friend of the family and Claremont 56 contributor.



McDonnell is famous for his wild and effects-laden dub mixes, both as a solo remixer and alongside long-time musical partner Dan Tyler as the Idjut Boys. Together, they provided deliciously wayward and mind-altering takes of tracks from the Claremont 56 catalogue as part of the label’s 10th anniversary triple-CD compilation back in 2017. Now McDonnell has gone solo to deliver an album of dubbed-out revisions of In The Garden of Mindfulness, a set that will land next year. To get us all in the mood, he’s laid down a trio if reworks of ‘Eighty Three’ in his distinctive style. McDonnell first offers up the ‘Le Cidre Dub’, a slowly pulsating rendition in which lightly echoing and tape delay-laden guitar, synthesiser and Rhodes riffs drift across a throbbing electronic groove and low-tempo dub disco drums. The veteran DJ/producer has effectively given the track a more cosmic and spaced-out spin whilst retaining much of Mudd’s intricate and densely layered instrumentation.



Those seeking even wilder and more out-there acoustics are catered for by McDonnell’s two alternative dub takes. He successfully strips back the track to its most skeletal form on the ‘Uppity Dub’, bringing the sparsest of beats in and out of the mix whilst focusing on ambient synthesiser sounds, bubbly electronic patterns, echoing electric piano notes and Mudd’s squelchy and addictive bassline. His favoured effects are all audible in the mix but never dominate the sound space. This celebrated side of McDonnell’s audio output comes to the fore on the EP-ending ‘Uppity Again Dub’, in which waves of trippy and picturesque electronics lap against a locked-in, delay-laden dub disco groove and flashes of reverb-heavy bass. It’s effectively a heady, mind-altering ambient dub interpretation of a sun-splashed Balearic treat. Like the other revisions on the EP, it offers a mouth-watering appetiser for the album of dubs still to come.

Give It Up Or Turnit a Loose (Edit) by James Brown b/w Web (Edit) by Hampton Hughes / Give It Up or Turnit a Loose (Bonus Breaks) by James Brown| Galaxy Sound Company — Gsc45-044, test pressing | The long-running @galaxy_sound_company imprint has been responsible for some superb re-edits over the years, most of which are pleasingly purist in tone — meaning they are pro rearrangements with no added effects but & needless new beats or cheap trickery like so many out there— making any of their releases cop-on-site. & as you can hear from the test pressing, the 44th in the stellar series delivers yet again.

Side A is a masterclass in breakbeat editing of a b-boy classic sample source. Yes, there are many killer JB edits out in the universe, but when you see that the legendary Black Cash & Theo AKA Thelonious Beats take a turn, you know you gotta cop this mutha on site. Here the edit master bravely returns to one of the main sources of the dawn of hip-hop — JB’s comp “In The Jungle Groove” which was released in 1986 to capitalize on it’s popularity in the genre at the time. The comp is named for a breakdown section that appears in “Give It Up Or Turnit a Loose” which is the workout we have here. JB quiets the band down to handclaps, footstomps & congas played by Johnny Griggs. After he raps a little, JB cues legendary drummer Clyde Stubblefield back in, followed by bassist Bootsy Collins & the rest of the band. JB wasn’t intentionally trying to create a perfect batch of hip-hop samples in the late 60s & early 70s, but he couldn’t have succeeded any better if he had been. This edit may enter well-worn territory but he uniquely delivers an edit that showcases why it inspired so many & still delivers the goods to help you get your party started off right & quickly.

Next up on the flipside we are treated to an edit of “Web” by Hampton Hughes, from his 1974 David Axelrod produced & arranged album “Northern Windows”. Heads will recall it as the core sample for “Off the Record” by Hieroglyphics, from the 1998 LP “3rd Eye Vision”. This jazz-funk burner features a stellar line-up: Piano/keyboards = Hawes Trumpet = Allen DeRienzo, Snooky Young Trombone = George Bohanon Sax/flute = Jackie Kelso, Jay Migliori, William Green Electric Bass = Carol Kaye Drums = Spider Webb

After more than ten years, four albums and countless shows, Swiss artist Joell Nicolas takes a turn and releases her last album as Vrvn. Despite being an ending, Storia is also a place for beginnings. For the first time, Vrvn brings together her semi-modular synth with an acoustic instrument, but not just any: a church organ. Filled with air like a dragon, it becomes both emancipating and dangerous, weaving its sounds with synthetic ones, together with voices and lyrics: in English and –also for the first time– in French. Three years of musical research condensed in ten tracks, sometimes structured as songs, sometimes as sensitive soundscapes. Stemming from an exploration of textures over structure, Storia meanders through intimate topics, such as childhood, silence, risk, healing and transformation. With the support of Ville de Lausanne and Canton de Vaud.

Open Space is proud to present our first ever full-length LP by LA’s newest 3-man band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Keita Sano joins forces with fellow Japanese producer Xtal and makes a welcome return to Delusions following last years amazing Love Is Emotion EP.

Those familiar with Keita’s production will know that his sound is a unique blend of raw, crunchy disco beats, touches of acid and a left-field sensibility which creates an intense and captivating atmosphere on the dance floor. A vibe that has seen his tracks become secret weapons for DJ’s as diverse as Ivan Smagghe, Pablo Fierro, DJ Nature, Frank Tope and Hot Toddy.

Kicking off the EP we have a track called Broken, a high energy and uplifting slice of loopy filter disco which hits all the right notes. Things roll along perfectly, building to a crescendo as a full on string break cuts loose, everything dropping away before slamming in with timbale fills joining the party.

Let Us Have Nice Days, The Sun is up next and makes great use of a classic Italo bassline to drive the track along whilst dub delay FX and side chained pads keep the energy bubbling. Bending bass synth notes bring an extra bit of drama without upsetting the flow and rolling 16th note intensity from the bassline. Feel the love!

Closing the release, we have Time Passing which slows the BPM slightly for a chugging slice of string-drenched gorgeousness. Drop this at sunset and watch as this melancholic gem creates a little bit of magic on the dance floor.

Lady of Rings marks the exciting debut of Paradisal Records. Drawing inspiration from the smoke rings of Mount Etna in Mirko Felicioli's beloved hometown, this EP is a heartfelt journey through time. Mirko pays homage to the unforgettable 80s with a fresh, modern electronic twist. The four tracks are crafted to ignite the dancefloor with their powerful basslines while also reaching deep into the heart with their nostalgic and romantic synths. This release perfectly encapsulates the essence of Paradisal Records, blending past and present in a unique and captivating way.

The popular Vinyl Only label hits release number 20 here with another sure-to-sell-out blend of funk, disco and soul. The brilliantly named Huge Disco Tits EP kicks off with a cheeky number that samples the greatest ginger-haired soul singer of all time. After that one shakes your limbs loose, 'Sock With Lube' brings swooning strings and raw, well-swung drums. 'Midnight Thing' is a percussive jam with funky bass guitar licks and 'Alright Thing' then shuts down with a vibrant blend of horns, strings and big licks. Party starting and loveable as always from this label.

10 years! What started as a humble weekly happy hour on MotorCity Wine’s patio has evolved into a beloved buy-on-sight vinyl label. To celebrate we bring you 10 Years Of Rocksteady Disco Vol. 1 from 4 of Rocksteady Disco's heaviest hitting mainstays. The release kicks off with Sol Power All-Star’s "Solsibisa", a peak hour pan-African house banger with a huge bassline and tons of drums to turn out the dance. From there Eddie Logix takes the baton for "2nd Choice (It's Still Not Over)”, a tune that remixes an all-time classic into a bonafide Disco House banger in that sleazy Eddie Logix way. On the flip it gets deeper, with the 12 minute "Whispers Of You" from Blair French, a deep house epic reminiscent of Ron Trent and Joe Claussell. Closing out the release is Topher Horn’s “Gratiot dub”, a bugged out cosmic beatdown joint affectionately named for one of Detroit’s most iconic roads. It’s a diverse package that perfectly encapsulates the Rocksteady Disco sound, and we’re sure it won’t leave your record bag for some time to come.

Stimulator Jones returns to TIM ZAWADA's orbit with this release on Star Creature side label Tugboat Editions. A soulful, r&b tinged boogie cover of BEN WHITE's modern soul masterpiece in both vocal and instrumental mixes.

Música Para Boliche takes us to Argentina. Along the journey, we will discover that Maradona is not the only thing we have in common with our cousins across the ocean.

Let’s dive into the 1980s Buenos Aires scene, a time straddling dictatorship and disco music, in search of dusty gems forgot-ten even in their homeland.

The EP contains four tracks spanning Italo, electro, and proto-house, carefully selected by Jack Bulgaro, restored, and edited by DJs from Italy and Argentina.